Author: Tyran Grillo

Monika Mauch/Nigel North: Musical Banquet (ECM New Series 1938)

| Tyran Grillo

Musical Banquet

Musical Banquet

Monika Mauch soprano
Nigel North lute
Recorded May 2005, Propstei St. Gerold
Engineer: Peter Laenger
Produced by Manfred Eicher

Named for an anthology of lute songs compiled in 1610 by Robert Dowland (1586-1641), son of John (1563-1626), Musical Banquet offers up exactly that. Lutenist Nigel North joins soprano Monika Mauch in an expert dovetailing of musicality, detail, and, above all, emotive power. Performing such songs is no small task. The separation of lutenist from the voice that must once have issued from the same—the result of a long recital tradition—means that singer and accompanist must balance poetry and setting with poise. One hears both throughout this spaciously engineered recording, which is to say that Mauch and North bring the precise intonation of classical rigor in harmony with the raw affect of the words.

To that end, Mauch’s diction is so crisp and finely scored that, were one to snap it anywhere, it would break off in cleanest lines. Whether bound by the tenderness of “Passava Amor su arco desarmado” (Love walked by unarmed) or freed by the self-pity of “Far from triumphing court,” respectively the program’s opening and closing songs, Mauch navigates a veritable maze of lovelorn dimensions with gorgeous uplift. North’s cogent luting is equally alluring, a pleasure to behold in its adaptive variety. Between their covers flip beautiful pages—some tattered, others gilded—dripping with sentiment.

In addition to French and English songs, the repertoire includes more from Italy by Giulio Caccini (1551-1618), as well as a handful of anonymous examples from Spain. Each stream has its own quality. The French songs are like necklaces, beads held true by strings of regard. The English, especially those by Father Dowland (Robert avoided inclusion of his own), weave contradictory tapestries. The lyrics might at one moment invite with a flirtatious lilt (“Lady, if you so spite me”), while at the next steep the narrative voice in claustrophobia. In the latter vein, consider your ears fortunate should you ever encounter a more heartrending rendition of his timeless “In darkness let me dwell.”

As for the Italian, and especially the ever-popular “Amarilli mia bella” (My fair Amaryllis), they tend to favor brevity, exerting all the more inertia for it. The Spanish encompass Mauch’s depth of range, making full use of her dynamic control. Furthermore, they challenge North to maintain intrigue by switching one backdrop after another in a gallery of rhythms and styles. Such colors nuance every mystery behind the words. Throughout them all, a peppering of lute solos by John Dowland is the glue that binds. Each is a gorgeous, multifaceted thing, carved with the geometrical precision of a Celtic knot.

Not only is the music of this collection brimming with allure; it also comes to us by the art of two peerless early music interpreters. Mauch’s singing combines the innocence of an Emma Kirkby with the passion of an Arianna Savall into something uniquely her own. North, for his part, looks longingly in the mirror and draws messages from the past. All it requires is a cadence or snatch of melody, and our hand has already been taken, led through a landscape where bodies once danced before they were buried to nourish the trees that to this day grow in their place.

Steve Tibbetts: Natural Causes (ECM 1951)

| Tyran Grillo

Natural Causes

Steve Tibbetts
Natural Causes

Steve Tibbetts guitars, piano, kalimba, bouzouki
Marc Anderson percussion, steel drum, gongs
Recorded 2008 in St. Paul
Engineer: Steve Tibbetts
An ECM Production

If ever there was a case for quality over quantity, Steve Tibbetts is it. A full eight years after A Man About A Horse, the Minnesotan guitarist returns with his most intimate statement yet. Alongside percussionist Marc Anderson, collaborator of over three decades, Tibbetts crafts a geography so inward-looking that it becomes a parallel world. Tibbetts originally flirted with the idea of releasing Natural Causes as one single track. Were such the case, listeners would feel no less aware of its science. Either way, its 13 tracks are not variations on a theme, even if they do play with the theme of variation. He calls them, rather, “complex little cathedrals,” building them as he does stone by stone, if not string by string. Indeed, his trusted 12-string guitar is possessed of something divine, its frets pared down to almost nothing over years of playing, so that fingers glide freely.

In a rare turn, Natural Causes is nearly all acoustic and accordingly finds Tibbetts playing piano, kalimba, and bouzouki to flesh out the palette. In addition to these, he employs a midi interface, by which he triggers samples of gongs and metal-key instruments collected during his travels. Of these, “Lakshmivana” is the fullest integration of plugged and unplugged. Told in the language of prayer—i.e., of human artifice embracing sacrality—it is an astonishing meditation that is only deepened by the story told in “Chandogra.” Here the periphery is barely noticeable. Instruments peek from the shadows, seemingly incidental, and fade at the instant of regard.

From the back-porch motif that introduces “Sitavana,” the album’s gateway, and through the burgeoning field that follows toward the solo “Threnody,” it’s obvious that Tibbetts’s attention to detail has grown like the preceding metaphor. His playing, mellifluous as ever, establishes global reach with tracks like “Padre-Yaga,” in which Anderson’s hand drumming leaves trails on the beaten plains. It develops, as does the album as a whole, in distinct cells, every pause linking the body to the less tangible impulses that make fingers ache for the fretboard.

There is an almost keening quality to Tibbetts’s portamento. “Attahasa,” for one, is a tree shedding spores. For another, “Sangchen Rolpa” wavers on the precipice of some great abyss. Across that expanse Tibbetts extends brief, tender bridges, paved with inner fire. Between them, the album’s groundswells reveal texture and breadth.

Although this is Tibbetts’s most inward-looking record, it is also his farthest reaching. His art is as honest as the landscapes that inform it, changing form and color as he moves from one riverbank to the next. Whether you choose to walk with him or listen upon him from above, just know there is a home for you here to which you may always return.

Stefano Battaglia: Raccolto (ECM 1933/34)

| Tyran Grillo

Raccolto

Stefano Battaglia
Raccolto

Stefano Battaglia piano
Giovanni Maier double bass
Michele Rabbia percussion
Dominique Pifarély violin
Recorded September/December 2003, Artesuono Recording Studio, Udine
Engineer: Stefano Amerio
Album produced by ECM

Raccolto is one of ECM’s most fascinating productions, though for some listeners surely also one of its most challenging. Significant enough for welcoming Italian pianist Stefano Battaglia to the label, it may be equally so for introducing percussionist Michele Rabbia, whose contributions are nothing short of revelatory throughout this double-disc effort. Battaglia and Rabbia are the common links to the album’s back-to-back trios, the first with bassist Giovanni Maier (better known as Triosonic) and the second with violinist Dominique Pifarély (a.k.a. Atem).

The standard jazz trio here is anything but in execution, as evidenced by the title track (meaning “harvest”), which opens the first session with Battaglia’s careful footsteps, joined by others in a dimly lit hall of mirrors. Striking here, aside from the rhythm section’s awakenings, are the Bach-like changes at play. It is as if the ensuing theatre of abstractions issues from the heart of history. With names like “All is language” and “In front of the fourth door,” it’s easy to get lost in each track’s spell, under which certainties become uncertainties and uncertainties become mantras. Motives seek rupture but find only a scrim of caution between them and full-on embodiment. And so, they dream of that embodiment instead, and this is the sound to which we are made privy, especially in the brief, and sometimes astonishing, culminations scattered throughout. Rhythms are thus implied more than they are directed, caught in virtuosic blips from the man at the keys or from Rabbia’s dustings of shrapnel and time. In these examples, as in “Our circular song,” the percussionist reveals worlds unto himself.

Not to be left behind, Maier grabs a lion’s share of spotlight in “L’osservanza,” which concludes the set in a vehicle of tender, lyric flashes. It’s a billowing weave that cups wind as a flower would sunlight. The bassist’s soloing in “Triangolazioni” adds depth to whispers and occupies a poetic center. He further inspires Battaglia to crystalline segues of call and response. “Coro,” then, can be nothing but a maze. Rabbia adds to it insect wings, hushes of children and slumber, of hiding and protection, so that Battaglia’s chording can find consummation only within. Hence, too, the two tracks marked “Triosonic,” in which the piano gives up its ghosts so that others might live.

Disc 2 swaps Maier for Pifarély for a dozen classically inflected improvisations built around abstract themes. As the go-to violinist of Louis Sclavis, Pifarély should surprise no one familiar with the violinist’s selective chamber appearances, each a window into another. His slippery playing recalls Luciano Berio’s Voci, especially in the folkish lilt of “Lys” and in the two “Cantos.” The latter feature prepared piano for a glassine effect, while Rabbia dips into more metallic streams of consciousness. And then, there is the obvious homage, “Recitativo in memoria di Luciano Berio,” which finds the trio mining the Italian landscape for ideas.

Surrounding moods range from frenetic to elegiac, achieving soul-digging brilliance in “Riconoscenza,” “Velario de marzo,” and “Pourquoi?” The last is tempered by Pifarély’s gravelly soothsaying in a showing of perfect restraint. Through various geometric configurations, the three musicians follow string paths as blood navigates veins until they reach the resonant frequency of “…Dulci declinant lumina somno…” It is the unforeseen view underlying everything, a vista within a vista, fragile as a moth’s wing.

It’s only appropriate that Battaglia should have found a home at ECM. The pianist cites Paul Bley’s Open, To Love and Keith Jarrett’s Facing You as defining encounters that pushed his classical rigor into dovetailed paths of improvisatory possibility. His Raccolto is one stubborn staircase, indeed, but well worth the climb. A debut to remember.

First academic publication!

| Tyran Grillo

For those of you interested in the academic side of my life, I’ve just published my first journal article, “More than Meets the Eye: Blindness as Alterity in a Japanese Guide-Dog Narrative,” which you can access online here. And for anyone who missed it, I’ve reviewed my good friend Yongwoo Lee’s fascinating dissertation on Korean popular music here.

Stephan Micus: on the wing (ECM 1987)

| Tyran Grillo

on the wing

Stephan Micus
on the wing

Stephan Micus sattar, mudbedsh, classical guitar, nay, shō, hné, suling, Tibetan cymbals, gongs, hang, 14-string guitar, steel string guitar, shakuhachi, mandobahar, sitar
Recorded 2003-2006 at MCM Studios

For his 17th ECM album, multi-instrumentalist and world traveler Stephan Micus maps further paths along soft geographical borders. Whereas on his last trek, 2004’s Life, Micus sprouted vines around a Japanese Buddhist kōan, here the voice of the man behind the means comes through his playing rather than his singing. The narrative arc is yet firm beneath his step, even if its location remains undisclosed at the final breath. Indeed, breath is by no means less operative herein, flowing as it does through a wealth of reed instruments, including the Iraqi mudbesh, the Egyptian nay, the shō (Japanese mouth organ), the Balinese suling, and the Burmese hné. From them issue the voices of this 10-part suite of sentiment, from which a peaceful core unspools.

Much of the music occurs in intimate settings. Part 1, from which the album gets its name, threads the mudbesh through two droning sattar, a bowed instrument favored by the Uyghurs of western China. As is his way, Micus obscures the origins of these instruments by floating them on idiosyncratic currents. The wind of the mudbesh captures spirit and pulls it through tree leaves, each a feather trembling on a skeleton without direction or need, floating and falling in an unwritten cycle. “Winterlight” bolds the underlying silt with three sattar, trembling like a dream that clings to the body in a scrim of frost. There is something medieval, even Nordic, about the sound that leaves wolven footprints in snow. A sleek form trudges along the riverbanks, eyes glistening with a gold that can never be obtained without destroying the soul. And so, it hides behind a cloak of dawn, the tender glow of which outshines even the rarest mineral treasure.

“Gazelle” follows with a pairing of nay and classical guitar. The latter, for all its lilting hold on pitch, becomes koto-like in Micus’s hands. It seems to embody the comfort of a life lived on the ground, while the nay circles overhead in search of possible dangers in the open plains. Resigned to those dangers, its heart beats on, anticipating the moment when it will no longer sound its drum. In that alertness there is harmony, a certain calmness of mind that casts itself to the elements of which it is but a shred. This is not, despite my attempts at wording, a purely descriptive track. Its title, like all on the album, is a stepping-stone toward less overt associations.

Forces build through the reed-thickened “Blossoms in the Wind” (for 2 sattar, shō, 3 hné, and 2 suling) to the fulcrum of “The Bride.” One of two larger “ensemble” pieces (this for Tibetan cymbals, Korean gong, Burmese gong, 3 hang, 14-string guitar, steel string guitar, mudbesh, shakuhachi), its reed work draws folding lines across the sky in preparation for its origami transformation. The breathy shakuhachi slides its way into frame center, even as it magnifies the edges in kind. Thus united, the flutes ride waves of without fear, their sole cargo a dowry of ether.

“Ancient Trees” lessens the forces with 6 shakuhachi, 2 sattar, and 4 mandobahar (a rare Indian stringed bass) even as it seeds possibilities. Here the shakuhachi is the agency of the drone, climbing trees like stairways into cloud. “In the Dancing Snow” again fronts the shrill mudbesh, now over 3 sattar, in a dance of ice and flame.

In the shadow of such greatness, the intimacy of “The Gate” is astonishing. This sitar solo is decades in the making, for it would take as long before Micus felt comfortable enough to commit something like this to record, and shows the fruits of his efforts to tame its overwhelming web by paring it down to two strings. Every bend holds a key to entry and ushers the listener into a world of ghosts with lingering attachments, each with a story endlessly repeated in the hopes that someday, someone will hear it and grant peace. It is further proof that Micus’s most powerful pieces are unaccompanied. That said, we are left with the album’s second major expanse, “Turquoise Fields” (2 steel string guitars, 3 hné, 2 suling, 3 sattar, 3 nay), which is an astonishingly immersive experience. As strums of guitar shift like wind through barley, a chain of solos from sattar and high reeds marks the transfusion point between the sacred and the profane. Last is “Morning Sky,” a congregation of five hné in a dance of farewell, but also of greeting. Which is to say that it welcomes us even as it sends us on our way.

FLY: Sky & Country (ECM 2067)

| Tyran Grillo

Sky & Country

FLY
Sky & Country

Mark Turner tenor and soprano saxophones
Larry Grenadier double-bass
Jeff Ballard drums
Recorded February/June 2008 at Avatar Studios, New York
Engineer: James A. Farber
Produced by Manfred Eicher

The intimately democratic trio known as FLY encompasses the talents of saxophonist Mark Turner, bassist Larry Grenadier, and drummer Jeff Ballard. The expressiveness of each member takes flight not only in the playing, but also in the composing, and for a spell tilts ECM’s Europe-leaning scale Stateside.

Ballard pens three tunes, including opener “Lady B,” which sets the dial to a pervading, if understated, hipness. The vibe is at once robust and airy, equalizing Grenadier’s superb melodic sensibilities with Turner’s go-with-the-flow changes and Ballard’s spinning color wheel. Here, as throughout, the trio sways between dance and chance, taking its time to develop a slippery groove and overlapping just so before pulling its improvisational ripcord. Ballard also contributes the laddered title track and “Perla Morena,” in which the groove continues at the level of a subconscious whisper. The latter tune throws a spotlight on Turner, who braids tasteful, virtuosic arpeggios in his soloing.

From Grenadier we get two tunes. The ballad “CJ” is a turning point in the album. The composer is, rightly enough, its heart and soul, and against thought-splashes of cymbals offers his monologue as a open meditation on the question of love. “Transfigured” is a sparser dialogue between Turner and Ballard in which Grenadier fleshes the skeletal spaces between with arco tissue. These freer gestures grab some traction as the rhythm section blends into song, only to snap out of its self-induced spell with fibrillating shine.

Turner’s pen yields four tunes, ranging from buoyant chromatism (“Elena Berenjena”) to slick fantasy (“Anandananda”). Yet it’s his “Super Sister,” which closes the album with 11 minutes of flattering ruminations, that shows the band at its finest. Here arises the full instrumental palette. Between Ballard’s murmuring poetics, and the swinging DNA helixes spun by Turner and Grenadier, there’s so much to admire and tease apart that you may just want to put the album on again the moment it ends.

Encore!

(To hear samples of Sky & Country, click here.)

Eberhard Weber: Stages Of A Long Journey (ECM 1920)

| Tyran Grillo

Stages Of A Long Journey

Eberhard Weber
Stages Of A Long Journey

Gary Burton vibraphone
Jan Garbarek soprano and tenor saxophones
Rainer Brüninghaus piano
Eberhard Weber bass
Marilyn Mazur percussion
SWR Stuttgart Radio Symphony Orchestra
Roland Kluttig conductor
Recorded in concert, March 23/24, 2005, Theaterhaus Stuttgart
Engineer: Michael Sandner
Concert produced by Martin Mühleis

Stages Of A Long Journey documents the best moments of two March 2005 concerts in Stuttgart celebrating the 65th birthday of Eberhard Weber. The bassist has, of course, been a mainstay at ECM, where his comparable talents as composer and arranger have found room to flourish since his breakthrough “Colours” discs of the seventies. This is his first live record for the label he calls home.

The album’s roster represents decades of inter- and intra-musical friendship, and dots a compass of profound collaboration. Saxophonist Jan Garbarek, in whose self-named group Weber has performed alongside many of the other featured musicians, returns the favor by casting his nets back to tunes in which he was never originally involved. The elliptical nature of it all brews fresh ideas and colorations, especially in the duo track “Seven Movements,” in which Garbarek’s soprano rides the ember-glow of Weber’s arpeggios like a bird on the wing.

Another evocative duo comes in the form of “Yesterdays.” The 1930s show tune pairs Weber with surprise guest (and oldest ally of them all) Wolfgang Dauner, he of the elusive Output, at the keys. In this conversation, one encounters the joy with which the bassist emotes. This makes it the most nostalgic portion of the program, which is perhaps why Weber foregoes his trusty electrobass and, in a rare turn, goes unplugged for a spell on the standard upright.

Another wizard of the keyboard, Rainer Brüninghaus, is a necessary presence for such a performance. Having contributed atmospheric details to so many of Weber’s tapestries, he lifts the classic “The Colours of Chloë”—which opens the five-part Birthday Suite—to new heights. The combination of bass and piano here reaches across and beyond the ensemble’s stretched canvas. Brüninghaus furthers the suite with his original “Piano transition,” as does percussionist Marilyn Mazur in her “Percussion transition,” both satellites orbiting Weber’s dreamlike “Maurizius” in telepathic gravitation. Moreover, Vibraphonist Gary Burton makes his mark on “Yellow Fields,” the suite’s final offering. Here, too, is where the final pieces of the puzzle work most intuitively, as the 90-piece Stuttgart Radio Symphony Orchestra, under the baton of Roland Kluttig, transitions across newly fertilized surroundings with its unassuming blend.

Because there has always been something of an orchestral heart beating in Weber’s music, one should not put too much stock into its actualization herein. This is duly apparent in “Silent Feet.” As the album’s opener, it is as likely an introduction as any for those hearing these pieces for the first time, but on its waves bobs the unblemished torch of interpretation that Weber has carried all these years, reaching full conflagration in a new take on Carla Bley’s “Syndrome.” This pet tune takes listeners into exciting directions as Weber navigates a shifting mosaic—sometimes in triplicate, sometimes duplicate—with controlled heat.Percussionist Reto Weber and beatboxing phenomenon Nino G join in the fun for “Hang Around” (a wordplay on Reto’s hang drum), much to the audience’s obvious delight. It is a playful interlude, but an equally conducive facet of the bassist’s prism, as is “The Last Stage Of A Long Journey,” a veritable origami figure of wind, land, and, above all, light.

Eberhard Weber’s music is a process of translation. Through it all, his bass is a visceral, thrumming magnet that seems to emerge from the very earth even while burrowing into it. His musical language is interlocking yet contrapuntal. Like an open book, its pages contain infinite wisdom but come together at the spine. All the more appropriate that Weber should end solo with “Air.” A summation but also a beginning, it is a badge of honor as only he can wear it.

Frode Haltli: Passing Images (ECM 1913)

| Tyran Grillo

Passing Images

Frode Haltli
Passing Images

Frode Haltli accordion
Arve Henriksen trumpet
Garth Knox viola
Maja Solveig Kjelstrup Ratkje voice
Recorded December 2004 at Rainbow Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher

Accordionist Frode Haltli mesmerized with his first contemporary program, Looking on Darkness, for ECM. Now, he furthers the journey with a chamber album of folk music from his native Norway. Although classically trained, Haltli has subsisted on roots since his formative years at the bellows, and over time has breathed new life into every tune.Accordingly, if not accordionly, the album’s centerpiece is a waltz from his home village of Våler i Solør in southeastern Norway. Here it takes three forms. The first two—“Per” and “Lyrisk vals” (Lyrical Waltz)—are games of tag between Haltli and violist Garth Knox, each a shade of the same ghost. Singer-composer Maja Solveig Kjelstrup Ratkje, whose Gagaku Variations formed the most memorable portion of Looking on Darkness, joins the duo for the final incarnation: the title piece. If the music until his point has been drawn in charcoal, here the medium is pen and ink. Its starker lines profess Haltli’s understanding of breath—not simply because his instrument is itself an artificial lung, but because it shares the body of its performer, expanding beyond human ken into warbling bird soul.

Dovetailing these musicians is trumpeter Arve Henriksen, whose poetry whispers gold into the alchemy of “Psalm.” The album’s gateway plants a dream within a dream, and from it a fragrance of hope wafts to the four corners of the compass. Both this track and “Vandring” make tasteful use of the accordion’s pitch-bending capabilities, thereby undercutting sharpened highs with lilting accents and intimations of children’s games.

Remarkable about Passing Images is the vastness evoked by its modest congregation. From histrionic wanderings (“Inter,” “Lude”) to less hallucinatory swaths of stagecraft (“The Letter,” “Vals”), the musicians travel between inner and outer worlds with ease, melting gestures down drains of progression. As of the folk song “Jag haver ingen kärare,” every melody is first unspooled and second re-spun, by which time the light has only moments to learn its dance before shining into your ear.

Miroslav Vitous: Universal Syncopations II (ECM 2013)

| Tyran Grillo

Universal Syncopations II

Miroslav Vitous
Universal Syncopations II

Bob Mintzer tenor saxophone, bass clarinet
Gary Campbell soprano and tenor saxophones
Bob Malach tenor saxophone
Randy Brecker trumpet
Daniele di Bonaventura bandoneón
Vesna Vasko-Caceres voice
Gerald Cleaver drums
Adam Nussbaum drums
Miroslav Vitous double-bass
Recorded November 2004-April 2005 at Universal Syncopation Studios (Italy) by Miroslav Vitous
Assistant mixing engineer: Andrea Luciano
Produced by Miroslav Vitous

Bassist-composer Miroslav Vitous dove headlong into Universal Syncopations II after the success of its predecessor, but required a handful of years to see the light of day on disc. Fronting (or is he centering?) a newly fashioned ensemble, Vitous exercises full creative control over the project, interlacing ribbons from his unique library of orchestral and choral samples into an already thick weave of live players.

The end effect takes some getting used to in the beginning, if only because it is so innovative and unusual. “Opera” opens with the din of a concert hall crowd that gathers like magnified sunlight into an awakening chant. From this emerges Vitous’s pliant and jovial bassing, which darts through its motivic surroundings like a squirrel from branch to branch. Drummer Adam Nussbaum keeps the core alive alongside hip tenor action from Bob Mintzer, while the muted trumpet of Randy Brecker crowns the mountain like a setting sun. There is chatter and laughter, a true feeling of context in an almost ritualistic tapestry of sounds.This is but the preamble for what the album has in store, and with “Breakthrough” shuffles the musicians a bit for some trend-setting flavor. Echoes of the Doctor Who theme arise in the soprano saxophone of Gary Campbell, who takes the melodic lead but leaves plenty of room for drummer Gerald Cleaver to squeegee the windows with his grist. Vitous, too, is busy, if humbly backgrounded in the denser portions.

Because of the many acoustic interests at play, certain portions of the album are more successful than others. It’s not that the mélange is unviable, but simply that the musicianship is so raw and immediate that the relatively processed interjections of strings, brass, and choir are by and large unnecessary, intriguing though they are. Thus, where such snippets feel extraneous to the crosstalk between Vitous and Campbell’s tenor in “The Prayer,” in “Gmoong” and “Universal Evolution” the combination clicks into place.

What this album may lack in consistency of arrangement it makes up for in spades with the musicianship, especially that of Cleaver. The drummer might as well be the “Solar Giant” to which the same track refers. Whether keeping the pulse through firewalls of horns or walking in the splash-steps of “Mediterranean Love,” he adapts with an intuitive, chameleonic energy, ever the epitome of balance between fore- and background, a direct link to what the album is trying to spiritually express.

“Moment” ends on a quiet storm, Vitous rolling the bass like a coin across a gunslinger’s fingers. Voices speak as if walking and dissolve at the touch of a single timpani hit. In its wake, one may be at odds trying to draw a connection between the two Syncopations. Which is precisely, it seems, the point: change is evolution. Surely, the art of this sequel deepens with each listening experience into something beyond itself, for experience is what it’s all about.