DAVID TORN, TIM BERNE & CHES SMITH: SUN OF GOLDFINGER

Writing this review is going to be rather an unconventional stretch for me. I borrowed the cd a couple of days ago, listened to its three 22+ minute tracks only partially, feeling that I'm not getting anything from this experimental, free-form sound tapestry - which is actually also my introduction to the artist. But I returned to the noble idea of writing the first review for a new album by an all too little known artist, at first thinking it would primarily be mere information-sharing (with a compromising three- star rating in my mind). But now, listening to it again with much more open-minded patience, I understand I don't need to compromise with my subjective rating. And that's what makes this so interesting for myself: what will I get out of this music, in the end? When rating music that's clearly outside of one's "comfort zone", how does one make the valuation?

David Torn (b. 1953) from New York is a 'textural' guitarist, composer and musician whose "urgent, atmospheric, effects-drenched sound blurs the lines between rock, jazz and avant music" (All Music Guide). He has collaborated with or played for myriads of artists, including many PA names such as Jan Garbarek, David Sylvian, David Bowie, Tony Levin & Alan White, Pineapple Thief, etc. Since 1987 Torn has been recording - though not exclusively - for the unique ECM label, the spiritual home for many avantish jazz artists. This ECM release, a collaboration with alto saxophonist Tim Berne and percussionist Ches Smith, peaked at No. 6 on the Billboard Jazz Albums chart, and was followed by a European tour.

As it became clear from my initial reception, this music is demanding for the listener. There aren't solid melodies, rhythms or conventional compositional structures, instead it's all like an extended meditation and sonic adventure for electric guitar, electronics, alto saxophone and drums. AEspecially at first 'Eye Meddle' painted for me an alienated, industrial, eerie and cold mental picture. It lasts for nearly 24 minutes and hardly gets anywhere, so to speak. The free-jazz kind of saxophone wailing is on the centre, the industrialist association comes from the way percussion and electronics (and guitar) are used. Well, I still don't quite know what to think of it, except that its length tests the listener's patience big time.

'Spartan, Before It Hit' -- such peculiar track titles! -- starts very slowly and quietly, free of any percussion. Around third minute joins piano, calmly played by Craig Taborn, and right after you spot the string quartet's presence as well, things get busier. Yes, unlike the opener, this one certainly has a sense of progression. The variety in the textural dynamics is extremely wide, stretching from nervous bursts to creepiness or calmness of the more silent moments. If this was music for a film, the film would be at times frightening but also very introspective and full of emotion one cannot describe in words. There are also two guest guitarists -- and yet you really can't hear any conventional guitar playing here!

In the beginning of 'Soften the Blow' the alto sax sounds like it was hopelessly crying for help in pain. The atmosphere is again very eerie and alienating. Makes me think of a locked-up person staring at the wall, slowly losing his/her sanity. Fortunately the piece has undeniable progress, albeit staying in a rather disturbing, at times totally freaked-out atmosphere, with the sonic whole being more varied than on the first track.

Now, how the hell am I going to evaluate this music I most certainly don't feel like ever returning to?! I think I'm not letting the idea of the uncompromising artistic vision and so called innovation and uniqueness increase my rating, even though I do feel a certain respect for them. I'd even might stick to one star the album only had the first and third track, but the guests deserve my second star.

Please keep in mind the subjectivity of my rating: I'm sure there are potential, avant-minded listeners even here, who might consider this even a five-star masterpiece. Would be interesting to get another review to oppose mine!