(Family Vineyard)

One has to wonder why, in times of abundant self-release jackoffing and overexposure to “talents” destined to eternal oblivion within months, an inquiring musician like Philip Gayle puts out a solo CD so rarely. Listening to “The mommy row” I came up with an answer: too many good ideas for these days of one-chorded sapience, too many directions taken – it can’t be used as background music like the 99% of people do while immersed in something else – timbral variety like a pouring rain, detuning of strings, toy pianos and tibetan bells, complex stratifications of guitar and…water. In his explorations Philip goes for parallel significances, passing through Henry Kaiser/Derek Bailey wastelands of harmonic bending and behind-the-bridge picking to find his own, unique voice which refracts in every corner of our being through hundreds of pleasant diversions, each and everyone with its well defined meaning. This is Gayle’s best work and also one of the nicest improvisation albums I’ve met in many years.

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