If Boris Savoldelli's "new" release seems to sonically antedate his last outing, that seeming is a reality, actually a re-release of the 2007 Insanology, put back out because this year's Biocosmopolitan has gone over so well, invoking interest in purely vocal works again, as well it should. We get precious little of this sort of thing. That the lyrics are frequently in Savoldelli's native Italian is irrelevant; after all, it's the music we want, and non-Italian-speaking audiences will be able to more formally consider the singing voice purely as an insutrument than otherwise in such a mode. After all, does one get upset when Francesco di Giacomo encants in Italian or when Christian Descamps maintains his langue francaise? One does not…lest one seem the fool.
Insanology also makes use of electronics, interfering with the melodics in various places as well as chorus-izing Savoldelli above and beside himself. Where Biocosmopolitan saw Jimmy Haslip and Paolo Fresu slipping into the mix, Marc Ribot pops up this time, toting a well-received guitar behind him. I've compared Savoldelli to McFerrin previously, as well as to Cocciante, The Flying Pickets, and others, but Brian Wilson also sidles into the echo here, and the most famed Beach Boy will himself, I'm quite certain, should he be wise enough to pick up the disc, find a trove of pleasures. If you caught the monumental finalizing of Brian's long-unfinished Smile cycle, I don't need to convince you of this. And, to tread even further backwards, it was Frankie Valli & the Four Seasons who got many of us into this a cappella+ modus, so, though Savoldelli's material is more epxerimental, it's yet a much-needed return to the ongoing evolution of chant and it's permutations (catch especially Moonchurch).
Hendrix's Crosstown Traffic returns in a hoppingly soulful reprise, and there's a cover of Mark Murphy and Uli Rennert's In the Seventh Year. If voice is indeed your interest, you might want to check out the review of Biocosmopolitan (here)—er, where I fucked up poor Boris' name horrifically (poor long-suffering chief-guy Dave at FAME has to perpetually fix my name-dyslexic errors) and then his much more experimental date with Elliott Sharp (here). Let me say that all these works, as good as they are and they are indeed quite good, only point to the sneaking suspicion that it may well be Savoldelli who finally comes up with the newest wrinkle in purely voice musics that everyone doesn't even know they've been waiting for. I suspect, however, that none will be able to guess what that wrinkle might be until either he, Mike Patton, or some other experimenteer crafts it. Thus, please join me for a small devotional service in the antechamber of the Church Of Laryngeal Bliss for a beatitude upon this very hope, then check into Meredith Monk, Joan LaBarbera, the aforementioned Mssrs. MccFerrin and Patton, and of course Savoldelli himself for the prophetic segment of the high mass.
Edited by: David N. Pyles
Copyright 2011, Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.
Website design by David N. Pyles