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- I enjoyed the directness of this at first—piano improvisations striding over solid multi-percussion, in the spirit of Smith's former leader, Gato Barbieri, without the manic harshness. Then I begin to hanker for some harshness. It's not just the strings, which are at least as intelligent as, say, Alice Coltrane's, and less ubiquitous. It's also the rhythms themselves, serving a purpose so expanded and cosmic that it's not even spiritual anymore, thus rendering their connection to the body irrelevant. (en)
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