ADVENTURES AT THE BABOOINUMFEST 2017

Yes, I don't know what the heck this is!

And that's ok.

After all, progressive music ought to push the borders from time to time, right?

This is a capture of live performances at festivals in Russia, yet I think there's more going on here.

I'll call it 'spiritual reverie', maybe even 'worship'-

Through layers of keyboard sounds- electric piano, clavinet, organ; guitar sliding, musing, singing; deep, plodding, droning bass guitar lines; drumming that sometimes nails down a simple, forceful groove and other times goes wild; and of all things bass clarinet squalling, noodling, screeching'

'in almost a Gregorian Chant kind of way the listener is brought into other realms, almost like meditation'

'through repetitions, droning octave lines, and increasingly urgent calls and responses among guitar, keyboards, clarinet, and who-knows-what.

'Live' is devilishly hard to capture:

For me anyway, live albums often suffer in comparison with studio recordings in which musicians get to obsessively craft and create exactly the sounds and moods they wish to capture.

Live performance, on the other hand, is notoriously hard to manage, and recording it is a challenge as well- who knows what the wind will do, the heat, the audience, the equipment?

Yet here we have seasoned musicians creating moods on the fly

Most often the keyboards start things off, then others enter, spar, add to, deviate from, at times in dissonant jarring tones, and sometimes quietly powerful.

Somehow as the album progresses, things fly more and more into the ozone of challenge, dis-harmony, near frenzy and chaos.

IF spiritual reverie it is, as I am suggesting, it is a spirituality that pokes, challenges, prods, pummels, demands, wails, and whines- as well as soothing and uplifting.

Conclusion

These tracks yanked me around, moved me, calmed me, agitated me, annoyed me, and amused me.

I'd say that's a win.

3.5 whirling-dervish encounters

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