There are guitarists solo albums that range from mediocre to just pure speed/technique showboating for its own sake, and then there are folks like Sal DiFusco who really stand out for doing something more than a little different.. And that difference is this; Sal can COMPOSE AND ARRANGE as well as play. And better still, not only can he do all 3 with equal excellence, but he goes the extra mile by investing each piece with genuine soul, swing, passion,, melody, color and wit!
This is the third solo offering by Sal, and it shows some of the most radical growth in Sal's writing and arranging palette to date. For Sal, it's not just about planting a melody line against a few clever chord changes and odd-time signatures. Far beyond that, Sal has really deeply considered all his sonic and textural resources and found very creative ways for them to interact with one another, much the way a great composer/orchestrator like Duke Ellington or Gil Evans would, but in this case, with an entirely different mindset and vocabulary.
Overall, one thing that really puts the whole album over for me is the way that Sal, though being the clear leader does not dominate the proceedings, but rather allows each instrumentalist to paint vivid colors on the greater canvas, choosing their colors and spaces very wisely, and Sal himself does likewise, whether spinning off, by turns angular, mysterious and compelling be-bop infused melodies (Bop for Baione, What's Next?), rocking out and getting downright funky at the same time (Hey Banacles, Behind The Veil!) or lulling you off to some beautiful rain forest in Brazil (15 Years, Bye Bye Mila)_, Sal does it with unflinching emotional power and conviction. "Crucial Choices " demonstrates the emotional power so vividly (you can really hear the contemplation), between its mysterious chord progression that goes unexpected places and a melody line that will haunt you for days on end. Part of what makes this work is how Sal voices his soaring guitar with tenor sax and other subtleties just underneath, such as Daniel McClain's wordless vocals. This isn't a texture used real often but when Sal puts it to use, it really enhances the proceedings. Sal's guitar tones are a great example of variety and fullness. Whether pulling out the clean chiming classic Stratocaster sound, spinning forth warm bop lines or turning up the amps and letting fly with thick, slicing legato tones reminiscent of Scott Henderson or Jeff Beck, Sal really does paint with sound in a manner not unlike Degas or Monet did with paint.
It must also be noted that saxophonist Dino Govoni provides Sal with a great melodic and textural foil. His playing at times evokes the late Michael Brecker. Jordan Orvosh's keyboards are a model of understatement and taste and appropriateness for each piece, and he even gets off some great solos on "15 Years" and a soaring Mini-Moog thing on "No Divisions". The drum/percussion axis pushes things along with fiery urgency on most tracks, :The Second Half ": being a great example of using one's resources to their fullest. Drummers Mike Mangini and Casey Scheurell take turns in the drum seat and along with percussionist Eguie Castrillo in keeping a high level of excitement and creativity going. Bassist Joe Santerre is what one would call a tasteful virtuoso on his 6-stringed low frequency bass beast. Equally comfortable with warp-speed walking jazz bass, rocking out with the restraint of a 747 gunning its engines or laying down some greasy funk, Joe really digs into Sal's compositions with the enthusiasm of a leopard having its freshly caught meal. Joe 's solo on the warp-speed bop tune "What Next" should leave NOOOO doubt that he's got the reputation he has around Boston for a very good reason.
One of the real standout pieces is No Divisions, where Sal and the musicians just pull out al the stops. No, it's NOT a shred-fest (something this writer finds rather juvenile and done-to-death), but rather, a grand showcase of creative and thoughtful arranging, variety and melodic execution (that melody line I swear WILL haunt you for weeks! Great use of guitar, sax and thick wordless vocals to put it across) genuinely in the moment soloing and a sense they were really listening to one another, all framed with an irresistible 6/8 groove.
The album closes on a contemplative note with "Vanishing Mist", with a rare turn on steel string acoustic supported by spacey synths. The melody just begs you to contemplate and consider just how precious and short one's life really is and to make it count for something, a driving force that informs Sal's music from first note to last, that one's life truly is a gift and not to be wasted. Of ANYTHING Sal has recorded, this is a gigantic leap forward for him on many fronts and if any indication, is a harbinger of greater things to come from Sal's composer's pen.
This Sunday, May 3rd our jam will be a HUGE EVENT that you will not forget !!!
Tommy Doyle’s will be sooooooo packed with friends, collage students and musicians that we have extended the hours from 1 PM until 5:30 PM. AND THE BOSTON GLOBE WILL HAVE A REPORTER AND A PHOTOGRAPHER THERE so come dressed (or not, haha …) and let’s get a group shot of all of us for the record !!! yeee haaa !!!
SEE YOU SUNDAY … MAY 3rd 1 PM to 5:30 PM, All musicians welcome! No cover, no age limit.
THE HOUSE BAND … Charles Locke, guitar, vocals Mark Micheals, guitar, vocals Lee Lundy, bass Danny Vigden, drums Bruce McGrath, saxophone John Moriconi (aka, Johnny Blue Horn) trumpet, vocals
I am moving to California next week and I will be so glad to see you all and play with you one more time before I leave, but in my heart I will sincerely miss you!!! And 15 years of playing with Danny Vigden has nearly put me in the nut house, haha … just kidding. He has been my best friend and drummer for the past 15 years … and it has been an honor to play with such great and talented musicians such as Danny Vigden, Mark Michaels, Lee Lundy, Candido Delgato, Lenny Bradford, Joe Bellomo, Bruce McGrath, and the list is endless … I thank you all for the wonderful times we had …
Please come visit me in LA !!!!
Love Charles
P.S. The jam will continue after I leave and Mark, Lee and Danny will keep the joint jumpin’ as usual …
Hey Brother, Have a great Birthday. I still go back to the time when we were "students" at Tufts Guitar Studio. Can you imagine paying $3.00/half hour for lessons today? My Dad thought it an outrage when I was ready for theory that the price jumped to $5.00! Keep pickin' and grinnin' Glenn.
