- 1. THE VELOCITY OF HUE (01:34)
- 2. THE SKEPTIC (04:22)
- 3. ANAMNESIA (05:52)
- 4. KURU (02:19)
- 5. THE FACE OF ANOTHER (02:46)
- 6. BEAKS AND BEANS (06:19)
- 7. NEBEL (05:23)
- 8. EUWRECKA (08:19)
- 9. ICONTACT (04:16)
- 10. POLYTOPE (03:31)
- 11. CIRCADIA (08:44)
- 12. GAGERS AND GAN (02:34)
- 13. RECOGNITION (07:02)
- 14. OTOLITH (05:27)
The Velocity of Hue
Acoustic Guitar – Elliott Sharp
A sequence of 14 very varied solo acoustic guitar improvisations, some augmented by an e-bow used to obtain sustained notes.
Excerpts from sleeve notes:
Most of us electric guitarists find solo acoustic sets a bit...risky. In VELOCITY OF HUE, Elliott Sharp takes that risk, walks the mean tracks armed with neither the bludgeon of amplication nor the safety net of through-composed set pieces.
The resulting acoustic beauty - VELOCITY OF HUE - may seem surprising to some who remember the electronic excess of early Carbon. But not that surprising. Elliott's music, then and now, is about the search for the resonant melody, what talmudists might have called the 'melody of fire'. The abstract nature of the compositions - melodic material to play with, techniques to use, strategies to follow, moods to elaborate - are then and now an attempt to leave the musician space to find the ‘necessary’ melody. The refusal to write a through-composed melody creates a strategic absence, forcing the musician to find it in the moment.
The material Elliott works with on this CD follows his focus of the last 30+ years: composition and improvisation inspired by the nature of the guitar itself (not to mention sound itself and the algorithms of the rest of the natural world) filtered through a love of country blues guitar and Central Asian musics.
But Elliott neither fuses nor genre hops. Rather than an act of fusion, VELOCITY feels like the discovery/invention of a 'place' of common origin, some lost delta in whose bars electronic composers have always jammed with Blind Willie Johnson and Tuvan throat singers - a meeting-place/collision-site of all traditions with the acoustic properties/limitations of the instruments which express them.
These are strong ideas, and Elliott realises them with amazing technique and sensitivity. The solo acoustic format has highlighted a sense of subtlety and nuance in his playing that it’s easy to miss in ensembles larger and louder.
It’s a beautiful record.
MARC RIBOT (2003)