Since the debut of his great band Big Satan, saxophonist Tim Berne has
created a series of bands (Bigger Satan, Quicksand, Science Friction
and other groupings) using different configurations of the same small
circle of players, including - for the first time in a long time -
electric instruments. Science Friction is essentially Big Satan plus
Craig Taborn, but the presence of Taborn's keyboards and electronics
(he's credited here with "Rhodes, laptop, virtual organ and virtually")
make it a very different band. While Big Satan stretched out in the
remarkable soloing of Berne, guitarist Marc Ducret and Berne's longtime
drummer Tom Rainey, Science Friction are claustrophobically tight and
dense.
The Sublime and. was recorded live in Switzerland in April of
2003 on the last night of a three-week tour, and represents Berne
at his best. It opens with a surprising moment of Threadgillia, but
quickly extends into flowing searches. Only two of the six tracks
spread over two discs are much under twenty minutes and they sound, as
expertly mastered by David Torn, like the intersection of fields. Berne
and Rainey have played together for so long that they are in perfect
step, and Ducret and Taborn build dense walls of sound around, between
and through them. It's difficult, except during solos, to seperate the
electric guitar and the keyboards in the thick mix.
The solos, of course, are remarkable. Berne is mournful, blistering.
Ducret is alternately melodic and explosive. Taborn is remarkably fluid
and inventive and Rainey can turn on a dime, propelling the group's
many inventions. The Sublime and. is a testament to the power of
musicians who work continually with each other, building and exploiting
a shared sensitivity.
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