Bass CDs
Bassists Colin Edwin, Lorenzo Feliciati Blend Pop and Prog on Twinscapes
Bassists Colin Edwin and Lorenzo Feliciati Blend ’80s Pop and Prog on Twinscapes Vol. 2: A Modern Approach To The Dancefloor
For their second Twinscapes collaboration, bassists Colin Edwin (of Porcupine Tree and Metallic Taste Of Blood) and Lorenzo Feliciati (Naked Truth, Berserk!) address their respective ‘80s pop roots in the context of the same ambient soundscapes, freewheeling improvisations and prog-rock flurries that graced their 2014 self-titled RareNoiseRecords debut. Picture Soft Cell jamming with King Crimson, Ultravox with EL&P, Depeche Mode with Giant Giant and you’ve got an idea of what’s happening on Twinscapes Vol. 2: A Modern Approach To The Dancefloor.
In exploring dance floor music on Twinscapes 2, multi-instrumentalists Colin Edwin and Lorenzo Feliciati pay homage to some iconic ‘80s bands while also pushing the envelope on that idiom.
“As with the first album, there was no conscious decision or discussion to sound a particular way,” says Australian-born Edwin, “but I guess it’s the case that both Lorenzo and I have a connection with having played progressive rock and also that we were both around in the ’80’s, so that shared history has kind of come out on this record. As before, we’ve simply followed our instincts and common ground.”
The Italian-born Feliciati recalls that, contrary to popular belief, the ‘80s was indeed a fertile period for musical experimentation. “I remember buying Genesis’ Trick of the Tail, which I still love today, and the first Devo album. And I clearly remember being exposed and enjoying music from new wave bands like The Stranglers, Human League, Ultravox andJapan together with fusion bands like the Mahavishnu Orchestra and Weather Report. I saw the last tour that Jaco Pastorius did with Weather Report promoting Night Passage…the night that changed my life. And I also remember going to see Talking Heads live with the Remain in Lightband featuring Adrian Belew. From my point of view, everything happening in music then was with elements of Prog, Jazz, Rock, African music. So I always disagree that the ‘80s was a poor decade for music.”
Edwin heartily concurs. “I think there was some really quite unusual and adventurous music on the charts back in the ’80’s, Japan being a great example.
They had chart success but the music was quite unique and very original. Though a little more obscure, another example would be Stump, who I first saw playing live on prime time TV. I can’t imagine a present day equivalent getting similar exposure.”
Edwin also remembers the ‘80s being a particularly bass-centric era for music. “I was certainly aware of Ultravox, Soft CellandHuman League, all bands who were known for using synths and adopting the nascent technology of the time. But there was also a lot of really upfront and prominent bass playing in that era, from mainstream things like Mark King with Level 42 and Pino Palladino on those Paul Young records to things like Siouxsie and the Banshees and Bauhaus, Peter Hook with Joy Division and New Order, Bruce Thomas with Elvis Costello and Kevin Hopper with Stump.”
Edwin and Feliciati apply their own formidable bass chops to the ten potent tracks on Twinscapes Vol. 2, while Lorenzo adds on keyboards and guitars in the studio and Colin contributes rhythm design and programming.
They share bass duties on all tracks, with Edwin focusing strictly on his signature singing fretless bass sound and Feliciati alternating between groove-heavy fretted bass and more lyrical fretless bass. “One of the great things about working with Lorenzo is that we don’t really need to discuss things a great deal,” says Edwin. “We often have similar ideas about how things should fit together or how to create a full sound without getting in each other’s way. We’re also a good partnership in that we share enough similar opinions and ideas to fit together without conflict, but we have enough differences to make things move in unexpected directions and push each other to try new ideas.”
Adds Feliciati, “Twinscapes is a dual bass project but from my point of view it’s a creative collaboration between two composers/multi instrumentalists/ arrangers and producers.
I am sure that who bought the first album will be delighted from this new one. It’s 100% Twinscapes. We are a ‘progressive’ band because we like to let the music show the direction instead of using the same formula again and again. It’s been very natural, when we start to compose a song together — or exchange files — to let the music drive us instead of trying to push it in a more planned direction. It’s fun and always challenging.”
Twinscapes Vol. 2 opens with the straight-up dance floor number “Tin Can,” which is actually a nod to’70s experimental German ‘krautrock’ band Can, while pieces like “Future Echo,” “Precipice” and “Heat Collison” carry more of a prog-rock/fusion vibe.
“We certainly have to acknowledge a certain prog-rock and fusion influence,” says Edwin, “but to me it’s all just about making the music work in an interesting and engaging way. And actually I think ‘Heat Collision’ has quite an emotional pull. For me, it has a real atmosphere.”
The moody “Bedroom Corner” features Edwin playing the melody on fretless bass while Feliciati holds down the groove on fretted bass. “In a Haze” has Edwin exploring ebow on his fretless bass before the pieces builds to a grand bass crescendo. Edwin’s singing fretless bass is also prominent on “The (Next) Level” while the slow rolling anthem “In a Daze” builds to orchestral proportions on the strength of Feliciati’s layered distortion guitars.
One of the more intriguing tracks on the album is “Severing Suns,” which blends rich chord voicings withGregorian-styled choral music and prominent fretless bass playing. “This is really quite a special track,” says Edwin. “Voices and vocals in general really fascinate me, and I have a special fascination for the connection between voice and bass. It’s perhaps our most experimental track with a lot of unexpected elements: the blend of basses, vocals, electronics, and textures, but with a strong groove too.”
The exotic “Ghost of Tangier” is a powerful showcase for Twinscapes drummer Roberto Gualdi.
“It’s really meant as a space for Roberto to do his thing,” says Edwin. “We often have a track in the live set where we create some textural backing for him to improvise against and this is a quite similar to a lot of those moments. Roberto is an all-around creative drummer, equally comfortable with odd times and slamming 4/4, playing structured parts and also improvising.He has the requisite sensitivity for the more reflective moments but he’s not afraid to let his inner hooligan out for the rockier parts too.”
Adds Feliciati, “On that track we gave Roberto complete freedom.
It’s basically a drums solo/composition where we added all the textures to boost the atmosphere that was already there with just drums. Roberto is an incredibly musical drummer, not a common thing. He is a top session man and he is one of the busiest drummersin Italy, but in Twinscapes he helps the music with a very creative approach and doing a deep research for the right sounds. And he is always groovy and in the pocket. After his contribution on the first Twinscapes album we did a lot of gigs as a trio with him and we were extremely pleased by his musicality. There is quite a lot of improvisation in our performance so Twinscapes needs a very solid drummer but one with a creative approach and with big ears. Roberto is all of that, and he is also a wonderful person to work, travel and play with.”
Regarding the nature of their collaborative process in the studio, Edwin explains, “We tend to make decisions and work very fast, and there’s a mixture of improvisation and carefully structured elements for sure. And in fact, there are a lot of moments across various tracks where I can’t distinguish who is doing which part, or where I’ve completely forgotten who did what. So we’ll certainly have some fun when it comes to playing these tracks live.”
While this second Twinscapes outing is a continuation of Edwin’s and Feliciati’s indelible chemistry together in the studio, they hint at even more things to come in the future.
“We’re still exploring for sure,” says Edwin. “Twinscapes is much more than just an excuse to dig out my ebow and more obscure pedals and pick up the bass. I think Lorenzo and I have a really good creative partnership and we have done some really memorable gigs too. So we still have a lot more to discover and I am looking forward to playing this new material live. As with the tracks from the first album, I am sure they will be great to explore and develop in front of an audience.”
TRACKS
Tin Can
Severing Suns
Bedroom Corner
Future Echo
In a Haze
Precipice
Ghosts of Tangier
The (next) Level Think
In a Daze
Heat Collision
All compositions by Colin Edwin and Lorenzo Feliciati.
Except ‘Ghosts of Tangier” Edwin/Feliciati/Gualdi.
Published by RareNoisePublishing (PRS).
Tracks 2, 3, 5 recorded at Yellowfish Studios, UK.
Engineer: Jake Rousham
Tracks 1, 6,7,8,9,10 recorded in Paris and at Nightspace UK.
Drums recorded at Metropolis Studio, Milan.
Sound Engineer: Alessandro Marcantoni
Mixed by Alessandro Marcantoni at Metropolis Studio, Milan.
Mastered by Mike Fossenkemper at Turtletone Studios NYC.
Produced by Twinscapes.
Postproduction by Colin Edwin and Lorenzo Feliciati.
Executive Producer for RareNoiseRecords: Giacomo Bruzzo.
In an exciting announcement for Rush fans and rock enthusiasts alike, Anthem Records in Canada and Rhino Records will reissue the first-ever solo albums of Alex Lifeson and Geddy Lee. Lifeson’s 1996 album Victor and Lee’s 2000 offering My Favourite Headache will be re-released on August 9, 2024, in various formats, including a range of vinyl configurations.
My Favourite Headache, Geddy Lee’s only solo album to date, was initially released on November 14, 2000. This reissue marks its first vinyl pressing since a limited-edition Record Store Day exclusive in 2019. The fourth side of the album features two instrumental mixes. Produced by Lee, Ben Mink, and David Leonard, the album includes contributions from Mink and drummers Matt Cameron (Soundgarden/Pearl Jam) and Jeremy Taggart (Our Lady Peace).
Victor, originally released on January 9, 1996, marks Alex Lifeson’s solo debut. Lifeson took on the roles of songwriter, producer, and mixer for this album. For the first time, Victor will be available on vinyl, featuring a complete remix by Lifeson himself to enhance the audio quality. The fourth side of the album includes four instrumental tracks previously exclusive to Lifeson’s website. Guest artists include lead vocalist Edwin from I Mother Earth, Primus bassist Les Claypool, and Canadian powerhouse vocalist Lisa Dalbello. The 15-song collection is paired with striking 2024 reimagined artwork by Fantoons Animation Studios.
For more details on the Geddy Lee reissue and to preorder, https://lnk.to/MyFavouriteHeadache
For more details on the Alex Lifeson reissue and to preorder, https://lnk.to/AlexLifesonVictor
Acclaimed bassist and composer Ben Wolfe is thrilled to announce the August 9, 2024 release of The Understated.
This evocative new album features a collection of new original compositions by Wolfe paired, with re-imaginings of some of the composer’s classic material, with a particular emphasis on the ballad song-form. The album features ten tracks, five of which are ballads – a bold move for any composer – Wolfe creates a cohesive narrative here that challenges the listeners perception of the classic ballad. The Understated features Wolfe alongside artists who make up the very frontline of modern jazz, including pianist Orrin Evans, tenor saxophonist Nicole Glover, drummer Aaron Kimmel, guitarist Russell Malone and pianist Sullivan Fortner.
Wolfe has always been drawn to finding beauty in subtlety. He perceives a certain tranquility and elegance in the Coltrane Quartet, Louis Armstrong’s Hot Fives and Sevens, the legendary Miles Davis bands and rhythm sections, and the music of Charlie Parker. While he, of course, revels at the immense world-building energy of this music, it’s the “other side” – the elusive, magical aspect that endlessly captivates him – the understated. The composer draws inspiration most from the ensemble work of these hallmark jazz ensembles. Despite the individual parts being extraordinarily beautiful on their own, the musicians in these archetypal ensembles play only what is needed to serve the music, paying particular attention to the band-sound more-so than their individual sound. The Understated embodies this ethos with a tremendously impactful ensemble-oriented approach.
Wolfe sought to continue the thread started by “Lullaby in D” from his previous critically acclaimed release Unjust. Wolfe indicates, “Something about that take was so perfect to me. It had been brought to life, and it had that ensemble thing.” Wolfe assembled the quartet who recorded “Lullaby” (including longtime collaborator Orrin Evans, as well as recent frequent collaborators Aaron Kimmel and Nicole Glover) and two very special guests, Russell Malone and Sullivan Fortner. The recording process took place in one room with no headphones or isolation booths, further emphasizing the group’s collective awareness.
This record succeeds in bringing Wolfe’s expansive music to life through extremely conscientious group playing. Nothing is forced or pushed; everything that needs to be stated is stated. The single from the album, “Waltz,” encapsulates the spirit of the project. Wolfe says, “I view albums like a complete painting, so singles have been difficult for me. This song is very much in the spirit of the whole but doesn’t give away the record.” The piece features a sentimental melody delivered with grace by tenor saxophonist Nicole Glover, before Glover and Evans embark on stirring solos dancing in and out of the tune’s harmony.
Other new original compositions featured here include “Ballad in B”, which perhaps best demonstrates the group’s stunning cohesion. This tune is a refreshing diversion as it features a serene repeated melody without overt melodic improvisation. The following track, “Anagram”, begins with Kimmel’s rhythmic refrains and a unison melody played by Glover and Wolfe and is a true ensemble piece. On this track, Wolfe shines with a lyrical solo. The moody short interlude “So Indeed” is a lyrical masterwork that leaves the listener wanting even more. “Beautiful You” features master guitarist Russell Malone on the track’s melody. The emphasis here on restrained lyricism is a prime reminder of the old adage “it’s not the notes you play, it’s the notes you don’t play”. Each pocket of space in between melodic moments leaves room for the listener to breathe deeper and deeper into the song. The driving “Triangle Man” features fantastic improvisation from Glover and Kimmel. The tender “Barely Spoken” concludes the album with a feature for pianist Sullivan Fortner.
The album also weaves in references to Wolfe’s past works, creating a personal musical universe. “The Poet Speaks” is the opening track on his first record, 13 Sketches. “Occam’s Razor” was composed years ago for a collaboration with a choreographer and painter, and was a much different composition in its original form. “Love Is Near” was originally found on The Whisperer. With ballads in particular, Ben uses voicings and sounds that represent certain things to him, intentionally referencing his other compositions to generate connections between his songs.
Wolfe’s tremendous compositions on this album are also influenced by the group of musicians that he assembled for this release. Wolfe remarks “One of the things these five musicians share in common is that not only are they true ensemble players, they will always play something unexpected and special.” Listeners will find calm and beauty within the ensemble performances throughout The Understated.
Visit online at benwolfe.com/
Bassist, band leader, and composer Orlando le Fleming continues to make music that crosses genres as readily as he crosses the Atlantic, with this new album ‘Wandering Talk’, to be released physically on 23rd August via the UK’s premiere jazz label, Whirlwind Recordings.
After 20 years in New York City, he’s back in his native UK, forging new pathways and renewing old partnerships. His love for the acoustic tradition continues unabated alongside his deep affection for the robust, muscular electric fusion that emerged in the 1980s, and he has received critical acclaim from media including The Guardian, Financial Times, Jazzwise, and All About Jazz among others. He has also toured and recorded with some of the world’s greatest jazz musicians including Branford Marsalis, Kurt Rosenwinkel, Antonio Sanchez, Ari Hoenig, and Wayne Krantz.
The Romantic Funk project was born in New York’s legendary 55 Bar to explore that legacy: now the new album ‘Wandering Talk’ builds on the critical acclaim generated by ‘The Unfamiliar’ (2020), building on the framework with a set of collaborators that brings together London and New York, past and present, acoustic, and electric, and merges it all into a spectacular whole.
Following the same principles that served the project in NYC, le Fleming booked four Friday nights at London’s renowned Vortex Club to workshop the music that would become the album, with a rotating cast of players which he honed down into the final line-up. Old London friends Tom Cawley (piano/keys) and James Maddren (drums) completed the rhythm section. New acquaintance Nathaniel Facey was picked from the ranks of the UK’s brightest young saxophone players. NYC stalwart Philip Dizack flew in from the US to play trumpet and reaching back to Orlando’s school days and forward to his own family, one-time classmate Chris Martin (Coldplay) and his own daughter Nadia combined to provide vocals on a special setting of Rumi’s poetry.
As before, the music combines fusion’s flash and fire with a contemporary sensibility. This time, Orlando’s questing spirit sends his superb band forward to investigate fresh areas of creativity in dynamic and texture.
Visit online at orlandolefleming.com
Album: John Entwistle, Rarities Oxhumed – Volume Two
Rarities Oxhumed – Volume Two is the second of the series of posthumous releases coming from John Entwistle.
Rarities Oxhumed – Volume Two is a compilation that was curated by drummer Steve Luongo, who served as John Entwistle’s producer, bandmate, business partner and good friend for many years. As Luongo states, “When I agreed to do two volumes of John Entwistle rarities, I knew volume two had to be even better than volume one. It is!” The collection of songs on Volume Two are from his years with the John Entwistle Band and include re-mastered versions of studio tracks including “Endless Vacation”, alternate mixes of tracks like “Sometimes”, and live tracks including The Who cuts “Real Me”, “Long Live Rock” and an epic version of “Young Man Blues”. The latest preview track to be released is the Who cut “Had Enough.”
Listen to “Had Enough” here: push.fm/ps/hadenough
Rarities Oxhumed – Volume One was quickly embraced by longtime fans as it featured gems like “Bogey Man” featuring Keith Moon, “Where You Going Now” (demo for the Who), and a raw live version of “Trick of the Light” recorded during the John Entwistle Band’s final tour in 2001. Deko Entertainment is thrilled to have been able to bring both volumes of this unearthed music of John Entwistle to the fans and forever solidify him as one of the greatest rock musicians ever.
For more information, visit online at dekoentertainment.com/john-entwistle
Mark Egan, Cross Currents…
It is exciting every time I get a new album from Mark Egan as he is such an amazingly versatile player and I never know what to expect (except for excellent artistry!) In his latest release, Mark has teamed up with Shawn Peyton on drums and Shane Theriot on guitar to bring us “Cross Currents”.
This collection of eleven tracks transports me to the Gulf Coast (New Orleans specifically). Mark’s fretless basses lay down a solid groove and lots of juicy solo work for this rootsy collection of funk, ambient, swamp-rock, second line, ballads, Cajun and even Indian Raga.
This trio is super-tight and the musicianship is flawless as each member has ample opportunity to shine. Even though each player is very talented in their own right, I feel that the collective energy is greater than just the sum of the players on this album. Each musician contributed to composing music for this project but the lion’s share are Mark’s original pieces.
I spent the summer of 1981 in New Orleans and this wonderful music takes me back to those fond memories. I participated in a wacky raft race on Lake Ponchatrain and this opening track elicits images of fun, sunshine, music, and great food.
This is another superb album that everyone will enjoy. Get your copy today! Cross Currents is available online at Amazon.com. Visit Mark online at markegan.com.
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