We’re sad to learn of the passing of composer and virtuoso bassist Stefano Scodanibbio (1955-2012). He died in Mexico, a victim of motor neuron disease.
Scodanibbio premiered works by dozens of composers, pushing the boundaries of what double bassists could be expected to do. He was also a composer of a number of formidable works, often featuring his own instrument but for diverse forces.
Although his compositions frequently displayed hyper-virtuosity and a serious demeanor, below, we see him in a light-hearted musical mood, channeling Hendrix and other classic rock stars in his piece “& Roll.”
This is a serious super group that delivers on its potential. Besides being session musicians to the stars and leaders on their own projects, bassist Tony Levin, guitarist David Torn, and drummer Alan White have played in countless groups associated with progressive rock, jazz fusion, and improvised music – King Crimson,Yes, and Liquid Tension Experiment chief among them. But this is their first recording together as a trio. And while it is indeed a powerful sound that they make, the music on Levin Torn White is intricately constructed and adventurous in a way that few modern day power trios can hope to emulate.
There’s more than a dash of the spirit of King Crimson – particularly its later lineups – alive in the music created here. Levin, of course, was the Crimson bassist for much of this time period, but Torn and White channel some signatures of Fripp and Mastelotto too. The guitarist’s own atmospheric improvisations are of course distinctive in their own right. But on the ethereal track “Convergence” they can also reasonably be likened to Fripp’s soundscaping. Meanwhile, Torn’s shredding on “Ultra Mullett” emulates the tart dissonances and skronkish squalls one heard from Thrak era Crim.
White propels the action with his characteristically forceful and energetic playing. But he’s able to turn on a nickel with each time change and unorthodox mathy metric configuration on the menu. I’ve long been an admirer of Tony Levin’s work, but he outdoes himself here, laying down thrumming low end and staccato Chapman stick filigrees that crackle with vivacity.
If you’re someone who thinks that fusion and prog – particularly of the instrumental variety – is rife with noodly indulgences and bathetic compositions, this release is strongly recommended as a corrective of your misapprehensions. Those already among the converted will find much in which to delight here. One hopes it isn’t a one-off collaboration: these three seem to be just getting started!