Milo Fine -Cadence Magazine
Project W - CD
 Though lacking the tightly wrapped focus, and,
as particularly regards Arnold and Pias, the profound instrumental prowess
(and experience) of the Parker Trio, Project W's expression is elevated
by a broad strategical palette and, at times, downright sublime empathy.
With an often sophisticated aplomb, the group maneuvers through and regularly
juxtaposes material of a spare, grinding, explosive, driving and, from time-to-time,
markedly idiomatic (the near funk of "Mumba" and waltz implications
of "Trois" apt titles, those) nature.
 Shoup continues to successfully interface
elements of wild and wooly 60's-styled free Jazz with contemporary extended
techniques. The manner in which he fluxes within the sonic arena - at one
moment in the forefront and then suddenly submerged to say nothing
of his ability in sidestepping gestures endemic to the Parker model, are
indications of his artistic maturity. Arnold and Pias are unmistakably in
route. At this point, the cellist possesses more energy than finesse in
transmuting his creative impulses into action, while the technically astute
drummer's spontaneous change-ups and inferences to everything from Latin
to march rhythms smack more of study than intuition. Thus, they were better
served by the seven inch 45rpm document featuring two tracks from this CD
("Bump" and "Strange") along with an additional, and
impressive piece ("Snake Legs"). Over the course of less than
fifteen minutes, their far from debilitating weaknesses were not as apparent.
But, even in this extended format, Arnold and Pias Achilles heels are generally
overshadowed by Project W's synergistic verve.
Project W - 7" Single
A sterling document spearheaded by
free-improvising veteran Shoup. The arrant expanse of spontaneously generated
strategies employed by this equilateral trio belies the 7" 45rpm format.
Starting in a mode reflecting the motion inherent in stasis, "Legs"
opens to reveal the contrapuntal synergy generated by the coalescing of
three independent voices. "Run" pays homage to the 60's blow-out
style of free Jazz, while "Attractors", colored by explosive waves
and bursts, opens with a spare, yet subtly intense passage emphasizing concerns
of texture, and closes with nearly swinging drive and neo-lyricism.
Though
Shoup's coarse autodidactic beginnings are still attractively apparent,
he continues to evolve through the discerning deployment of extended techniques.
In a sense, Arnold, with his somewhat unpolished tone, likewise reflects
aesthetic concerns removed from the academic artifice of "perfection",
while Pias' often busy, but never frantic or overcharged polyrhythms are
as integral to the music's atmosphere as its momentum. In tandem here, Project
W is, on a collective and individual level, quite brilliant. |
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Steve
Duda - TheRocket Magazine
Project W - CD
Squares will be unable to get next to this record because it, on
the surface, belongs to that fringe that's hard to classify noisy,
non-linear, chaotic. Fine. Leave 'em.
But on inspection, Project W's newest thing displays a remarkably
cohesive sense of swing. Not in the trad sense, of course, but in the this-fits-with-that
intuitive reasoning and momentum where music either sinks or swims. The
credit here belongs to the players. Project W, throughout this 11-song workout,
operate as a unit. Though that may seem antithetical in the free context,
there is a real sense of listening and understanding among this trio that
is rare, especially in a form where innovation and self-expression often
override any sense of cohesion (but that's usually the point, right?)
While creativity remains the coin of the realm
in this circle of jazz, the striking element on this session is the virtuosity,
responsiveness, and the creativity of the players. Led by the exact and
directing charge of drummer Ed Pias, Project W find themselves with a rolling,
open lawn of possibility on which to romp. On top of Pias' truly outstanding
attack, the alto of Wally Shoup runs in tight circles, quick bursts, and
appropriately blaring, satisfying jags and tantrums. But here's the catch:
you'd expect a bass to round the trio, but no. Instead, Brent Arnold is
there, sawing away on post-mod cello. Arnold is the third top-notch player
in this unit. He is capable of invoking frenetic, fist-clusters of notes
or drawing out longer, perfectly placed tones that accent, divert, skew,
and even lead this excellent band. Project W swings with relentless athleticism. The
record is a blow-out that remains lucid and raises sounds that will fill
your hat for weeks.
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