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Wind & Wire - Review by Bill Binkelman
(07/24/00)
ASCENSIONISM
Richard Bone
Completing his trilogy that began with
Electropica and moved on to Coxa, electronic
keyboard maestro Richard Bone has ended his
journey with Ascensionism. Drawing equal parts
inspiration from the concept of the Ascension
Schools (a Middle Eastern/Egyptian
philosophical and religious belief system) and
the beat poets (such as Jack Kerouac), Richard
has finished his three-part series in sterling
fashion. If you enjoyed the first two segments
of this trip into “hep cat-land,” you’d best
add this one to your collection as
well.
The opening cut, “Waters of Assiyah,”
(I’ll let the more ambitious of you go to the
website at http://mkmk.com/bone/ and read the
glossary of terms, thank you) has a smooth
sultry rhythm, sexy piano line, funky bass,
bluesy trumpet and synth chorus. Now, I ask
you, is there any doubt in your mind that this
is a Richard Bone CD? Swear to God, I could
listen to this man’s music every single day of
my life. It may be the most affirming music in
the world. I remember when Richard told me in
an interview several years ago about how he
didn’t like “dark ambient” music but preferred
things in a lighter, more positive vein.
Listening to any of the of the CDs in his
trilogy, I now know just how committed he is
to this philosophy. (Yes, his work on Spectral
Ships and Etherdome is somewhat “dark,” but
it’s still warm and inviting to my
ears).
“Sister Samadhi” is FUNKEEEE! Bubbly
synth notes and beats, synth pan flute, and a
sexy vibe take this cut into the cyber-lounge
and park it there - yeah baby! Birdsong (!)
and tympani signal the start of “Kavvannah,” a
departure from previous cuts. The world beat
textures here are more overt (but not “in your
face” either) and the cut has a more “serious”
air to it. It’s not pretentious in the least,
though. Instead, it’s softly spiritual, even
with its accentuated rhythms. But, if you
think that track was atypical, wait til you
hear “Ariel Dane and The Seraphim Swing” which
offers up a lazy piano melody, breathy synth
choruses, and carnival-like twinkling synth
notes. A unique-sounding snare-drum beat
enters the song alongside a trumpet; the
results are excellent. The song is luxuriously
pretty, as synth strings swell and then
subside.
The next selection, “Walkin’ the Dharma
Bums,” is a return to the retro/cyber Bone I
know and love. Quasi-Wes Montgomery-like
guitar licks, sassy Hammond B3 organ and jazzy
rhythms epitomize the hipness that has made
these three (the trilogy) albums so much fun!
A Miles Davis-ish trumpet line only adds to
the picture. Next up, the title track could
have been lifted off Coxa, with its
bottom-heavy bass, electric piano, and
ultra-sensuous rhythms.
I’ll leave some of what’s left as
unexplored, so that it’s a surprise. But,
“Sultry Sally’s Meditation Alley” is just too
damn cool not to mention. Tongue-in-cheek
throughout, the song is laced with Herbie
Mann-like flute lines, Fender Rhodes electric
piano, and infectious midtempo
rhythms.
I’ve said it in a lot of ways but it
bears repeating. Richard Bone, in my humble
opinion, is a musical genius. His homages and
extrapolations that comprise his “retro”
trilogy are near perfect musical expressions
that are both singularly unique and
emotionally satisfying. Coxa, his previous CD,
seemed to stay on my CD player forever (and
with good reason, too!). Ascensionism joins
the ranks of that release and Electropica as
the final chapter in this series. I don’t know
if a single artist has made three more
enjoyable albums than these offerings from
Richard Bone. Filled with sly wit, genuine
warmth, and plenty of sex appeal, Ascensionism
(and its two cousins) are all winners. Highly
(sky-high, in fact) recommended!
(And yes, there is a bonus cut on the
CD, again...but if you think I’m spoiling the
surprise, think again!)
Review by
Bill Binkelman
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