Vinny Golia


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Vinny Golia strengthened his ties with longhair radicals by recording a series of uncompromising duets with veteran classical avant-garde bassist Bertram Turetzky. In lieu of Golia's usual inventive titles, the 11 pieces are all called Intersections and assigned a number -- and he and Turetzky are not adverse to the idea of overdubbing (or, to invent a word, "overdoubling") pairs of basses and winds. Since Golia keeps mixing up his instruments, employing most of the members of the flute and clarinet families plus shakahuchi, and Turetzky is a master at squeezing a seemingly infinite number of sounds out of his basses ( he can make it sound like a horn, a synthesizer, an Indian sarod, etc.), it's easier to stay involved with this music, though by no means can this be considered easy listening. The opening Intersection is fascinating, the shakahuchi shrieking and moaning above double-tracked basses. But then Intersection No. 2 gets thorny and difficult, with bass clarinet multiphonics and scraping arco bass; No. 3 carries out Olivier Messiaen's birdsong conceptions with overdubbed piccolos (piccoli?); and their atonal reveries, joustings, and probings only seem to get tougher from there. For battle-tested ears only.

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