A merging of allegedly opposing forces/sensibilities. A balancing act of sorts. An eloquent evocation of intricate imagination and thoughtful improvisation. A dalliance with intensity that somehow often ends up feeling like intimacy. These are sentence fragments attempting to describe in words that which is certainly beyond words. Ah, the nagging and seemingly inescapable conundrum...

Here you go: the music of guitarist Gregg Belisle-Chi and his superbly responsive and flexible Quartet, negotiating dizzying compositional labyrinths while also spontaneously drawing us, the ardent listeners, into a magical web of shared ideas/language. So rarely does music that possesses more than a whiff of boldness also offer such graceful moments of open-ended musical conversation. I'm trying not to put ideas in your collective heads, but it's hard not to. Sorry! Many of these compositions of Gregg's are mind-bendingly complex; unison lines between guitar and saxophone effortlessly assaying that which my tiny brain strains to comprehend. Who imagines such madness, such intricacy?? Gregg Belisle-Chi does.
As guitarist extraordinaire, he has unlocked the intervallic frontiers of his instrument both compositionally and improvisationally. The most pleasant surprise here - at least to me as I put this music into some sort of "context" - is that this is essentially a "free jazz" record. Each meticulously crafted and elegantly executed melodic freakout gives way to open, collective improvisation that eschews rigidity and sounds/feels inspired. A beautiful balance is achieved. Even when the compositions feel urgent and elaborate there is an underlying sense of repose. Astonishing... The chemistry between Belisle-Chi's guitar and Sam Decker's tenor saxophone is breathtaking. Gregg's guitar compellingly embraces distortion and angularity while never going fully aggro. Sam's tenor often floats over this, yet is also fully enmeshed in it, with alluring tone/phrasing that makes me think of someone much older and not "avant" (this is a compliment...). The rhythm section of Noah Garabedian on bass and Jeff Davis on drums is strong but never arm-waving/overwrought. This is a BAND! They breathe as one organism.

To the impatient "show me" people: Listen to the guitar/drums opening of "Habit" and you will hear Gregg do what he does so damn well, which is open up all possibilities harmonically with sustained but controlled intensity and virtuosity. Heck, he does this throughout the whole record! As is quite often the case, some of the best comes last in "Twenty Two Blues", wherein Gregg is unafraid to bring slashing, penetrating lines way to the fore on what is essentially a haunting, meditative piece. But there I go again, putting thoughts into your head! Best I leave you with the words of leader/composer/guitarist Gregg Belisle-Chi:
"I think the theme for the record, for me, was about 'becoming'. Becoming more of the musician I am, becoming more comfortable with who and what that is, and becoming aware of that 'Hum' inside that's always present but not always paid attention to". Amen to that, I say! And to which I might add some David Byrne lyrics: "Pay attention... Pay attention..."
Nels Cline