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McGill Manring Stevens — Controlled by Radar
(Free Electric Sound FES4002, 2002, 2CD)

Controlled by Radar Cover art

The virtuoso trio of Michael Manring, Scott McGill, and Vic Stevens returns with a double CD that is split into separate acoustic and electric discs (or as they refer to it, “left brain” and “right brain”). With players of this caliber the potential exists for an incredible album, but unfortunately some of the potential is unrealized due to the lack of attention to the compositions. Much of the disc is improvised, picking up on a theme that was introduced on 2001’s Addition by Subtraction. The playing is certainly impressive, with hot soloing from McGill and Manring. Stevens is a monster drummer, and his powerfully precise playing recalls Terry Bozzio. McGill has moved on from his overt Holdsworth influence to develop his own style, which tends to be in the blazing fusion vein with an occasional touch of dissonance. The problem with the electric disc in particular is that too often it sounds like indulgent studio jamming with little attention to melody, and many unrealized song endings. The acoustic disc fares better as there appears to be more thought given to composition. The sound varies from ECM to AACM with an opening track that is reminiscent of Ralph Towner and Eberhard Weber, to some atonal, “out” pieces. There is also an Indian influence that ranges from the subtle to the overt and suggests Shakti at times. There is a 15-minute raga-type piece that is interesting but ultimately goes on a bit too long. Stevens often uses hand percussion including clay drums, which fits in nicely with the acoustic bass and guitars. Overall Controlled by Radar contains some impressive playing, but it also points out the fact that even high quality improvisation can rarely replace well thought out composition.

by David Ashcraft, Published 2003-02-01

This trio put out quite an impressive CD of smoldering improvisation just a while back, and already here comes another one. Make that two! On disc one you get basically three modes of playing, with variations in between. One side is an experimental, pulseless free-form, in which the two string players employ every trick imaginable to action paint weird textural adventures. Second is a hard-hitting riffing jam mode that invites comparison to Mahavishnu Orchestra, Bruford, etc. And third they go more atmospheric / tribal with a mood not too far from what Polytown did on their flawed but original (and only) CD. Before spinning disc two I wondered why a second was even necessary. Well, the joke is on me: it’s the MMS alter ego, in an entirely acoustic framework! Here, Stevens treads lightly on the drums, while McGill uses mainly 12-string, Manring opting for what sounds like a nylon-string guitar detuned to a lower register. This is where the trio’s best work is captured, in a spirited melange of styles that all complement each other. Again basically three divisions can be made: a bluesy free-form jazz; an impressionistic ECM side (but darker and rougher than Eberhard Weber, et al.); and a flashy Indian-flavored direction. All three combine to form the kind of artistically satisfying music that I’ve recently been forced to turn to Eastern Europe for. Controlled by Radar will easily make my best-of-2002 list.

by Mike Ezzo, Published 2003-02-01

And now for your listening pleasure, two CDs of improvs and jams from Scott McGill, Michael Manring, and Vic Stevens. The discs are labeled “right brain” (electric) and “left brain” (acoustic), somewhat like Steve Morse's recent Split Decision though, again, Controlled by Radar is mostly improvised or constructed around loose jams and riffs. Some are brief, in the two- to three-minute range, while others cover much greater territory, such as the 14-minute “He Is Invisible.” I won't go into a track-by-track analysis since too much of it would read: “loosely constructed improv / jamming.” For me this is a problem. That’s not to say that I don’t appreciate good jams and improvs, it’s just that there’s little of it here. I’ve always believed that this outfit has the potential to deliver instrumental fireworks reminiscent of the best KC though there’s little of KC’s musical telepathy here. Too often I get the feeling that McGill would be messing around with his guitars and effects, arriving at something he thought sounded cool, and then start playing around with an idea, allowing the other two to join in, while all of it was being recorded. And while Manring makes some worthy contributions, I get the sense that Stevens was bored most of the time. To its credit the acoustic disc delivers some nice playing and ideas but the electric set has little to recommend unless you just love that sort of thing. I am personally underwhelmed by it all, as I usually am when a combo of great potential fails to deliver. Maybe next time.

by Paul Hightower, Published 2003-02-01

Filed under: New releases, Issue 26, 2002 releases

Related artist(s): Michael Manring, Scott McGill, Vic Stevens

 

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