Marc Ribot began this evening's Basel Jazz Festival concert at the Kaserne Basel with picking: a folky chord progression with a lovely melody. A few minutes later he’d already established the range of his band Ceramic Dog as he played flurries of melodic phrases drenched in psychedelic feedback. Throughout the concert, he and his bandmates multi-instrumentalist Shahzad Ismaily and drummer Ches Smith moved smoothly and abruptly between the quiet and the loud, the melodic and the dissonant, the instrumental and Ribot’s idiosyncratic vocals. This was at least my 11th concert with Ribot since I first saw him with Tom Waits in 1987, and his range and singularity continue to amaze me. (Andrew Shields, #111words, 30 April 2022)
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