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Put your hands on the remote! browse music »Bedouin Hornbook by Rich West
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8 tracks | 68 minutes
Released Dec 2004
on pfMentum
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- sample lyrics "DOWNLOAD" 11:20 Bugge lyrics BUY MP3 11:20 Bugge lyrics "GIFT MP3" 11:20 Bugge
- sample lyrics "DOWNLOAD" 06:34 Tribology lyrics FREE 06:34 Tribology lyrics "GIFT MP3" 06:34 Tribology
- sample lyrics "DOWNLOAD" 14:41 Twang lyrics BUY MP3 14:41 Twang lyrics "GIFT MP3" 14:41 Twang
- sample lyrics "DOWNLOAD" 08:22 Tread lyrics BUY MP3 08:22 Tread lyrics "GIFT MP3" 08:22 Tread
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from Touching Extremes - Though not devoid of fun, "Bedouin Hornbook" is played with impassible rigour even in its improvised sections. Any visible influence is rinsed out with a millimetric sense of order; the optimization of each instrument's peculia
Editorial review
What do you think of when you hear the words "Bedouin Hornbook," the title of this disk? For most of us, it is probably an image of independent, proud, wandering desert dwellers, probably from somewhere in the Middle East. The music here, though, bears little if any relation to these mythic Arabic wanderers, and instead, as Dorothea Grossman cleverly opines in her liner notes, tongue planted firmly in cheek, the words might just refer to the Los Angeles-based nomads comprising the band. As with so much from the pfMENTUM label, you have to expect the unexpected, and although this one is less radical than many of their other releases, it still incorporates those elements that keep the listener guessing. This is slightly left-of-center, quirky jazz, filtered by melody, and with a horn lineup of tuba, bass clarinet, and a trumpet that shies from the upper registers; there is a dark, sometimes brooding quality that lays a veil of noir. Rich West, the leader, is a drummer who composed (or in some cases, molded) all of the pieces, but as a performer he mostly subordinates his ego to the group sound. Each piece is different, and the combinations of instruments change regularly. The tuba and drums hold down the bottom, while the guitar acts in both a rhythmic and front line capacity. An example: What appears to be conch shells surrounded by computer pulses on "Twang" results from a delightful if surprisingly conservative blend of instrumentalists, which include Jeremy Drake, who contributes mightily on electric guitar, and Chris Heenan, who is able, remarkably, to coax didgeridoo-like pulses from the bass clarinet. Sometimes the group reminds the listener of the fast-paced work of Carlo Actis Dato, but with slightly less intensity, less kitsch, and greater diversity of sounds. ~ Steven Loewy, All Music Guide
Bio / Background
Rich West, drums, composer, leader
Scot Ray, tuba, didjeridoo
Chris Heenan, bass clarinet, alto saxophone
Bruce Friedman, trumpet
Jeremy Drake, electric guitar
from the liner notes:
"The sad thing about L.A. is that it's hard keeping people in the same room for extended periods of time." Rich West
The title is from a book by Nate Mackey, which I haven't read. However, in the spirit of Richard Meltzer's infamous "previews" of bands to whom he's neither listened or talked prior to writing about them, I'll concentrate on the nomadic implications of Bedouin (from Webster's New World Dictionary of the American Language); nomad, "a member of a tribe, nation or race having no permanent home, but moving about constantly in search of food, pasture, etc.", and suggest that this band is composed of nomads as only an L.A. band can be. Luckily, Rich West was able to get them in the same room at least long enough to produce this exuberant album.
↓ more ↓It's not just that the tunes (he says, "everyone had a hand in some of the arrangements") are strong and interesting (shades of Igor Stravinsky, Frank Zappa, Nino Rota), the playing -- both written and improvised -- is, too.
A surprising variety of moods and textures is developed, ranging from the inviting and theatrical "welcome to the show" feel of "Tribology" to the especially attractive Gyuto-Monks-meet-Fellini scenario on "Twang". The sounds are oddly appealing in some non-traditional ways (murky trumpet, bell-like guitar). When it's all over, you feel as if you've been someplace new. I can't imagine any other five players who could play this music and make that happen. This is music (see individual bios for impressive credentials) that knows the difference between self-expression and self-indulgence, for which we should all be very happy.
----- Dorothea Grossman, Los Angeles, CA, October 2003
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