2.0 is an unusual release from a pair of women musician-singer-writers based, though the upper reaches of the disc are various rock formats and jazz lite, in chamber classical musics. I mean, Nathalie Joachim and Allison Loggins-Hull really know how to play their instruments above all else, to a degree that will have Ian Anderson (Jethro Tull), Thijs van Leer (Focus), and Jon Field (Jade Warrior) sitting up in their seats. In fact, I'm, purely in terms of proficiency in playing those slender metallic instruments and the delights arising therefrom, reminded of all those righteous LPs Jean-Pierre Rampal put out in the 70s and 80s, especially with pianist Claude Bolling. Those discs pretty much rescued the instrument from the abyss it kept falling into, and, holy Pink Floydalities!, their Suite for Flute and Jazz Piano remained on the Billboard charts for an amazing 10 years. That same spark and vitality resides here but in much different context.
Forget Bond and their stagey half-ass violinics, Joachim and Loggins-Hull are master flautists, have performed/collaborated with Boulez's International Contemporary Ensemble and other highly impressive moderne groups, and here cohered a progressive potpourri very difficult to categorize. Part of that, I suspect, issues from their wise choice of producer: wunderkind Tony Maimone from the godly Pere Ubu band, as the evidences of his plutonian thinking are all over the CD. Listen to Flock and see what I mean. A whirlwind of simulsynched cosmic mass birdflight, it's endowed with the kind of compositional, arrangement, and ornamentalistic touches you hear in P.U.'s early oeuvre (get the Datapanik box set if you still can). A meeting of maverick minds definitely occurred when the ladies met the Ubu madman genius.
Judge Judy, Judge Jane reaches waaaaay back to the Nonesuch electronics days when Subotnick, Erb, Wuorinen, and a small bevy of landmarks walked the earth in full chaotic regalia but blended with ripe classicalist sensibilities as some, Eric Salzman (here) et al, evidenced mouth-wateringly. Flutronix, however, treads beyond all that, interpolating modern forms into a welter that refuses to sit still. In that respect, then, I have to cite Salzman's momentous Nude Paper Sermon as kindred in its own way while worlds apart. If you're ready to re-tune your ears, you're ready for 2.0, but don't fret: once you hear those glorious flutes, you'll be more than willing to do so. Oh, and Joe Blaxx was an xlnt choice as drummer, cat's got mad skills and all, and he'd certainly have to, to keep up with these ladies.
Edited by: David N. Pyles
Copyright 2014, Peterborough Folk Music Society.
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