Vinny Golia Meets Lords of Outland
Rent Romus’ Lords of Outland with Vinny Golia — Edge of Dark (Edgetone, 2011)
The Lords of Outland, with Golia, play Sat. Dec. 17 at Community Music Center: 544 Capp St. in San Francisco’s Mission District.
Over the past 17 years or so, Lords of Outland has gone from being a free-jazz band to playing a noisier, darker brew filled with wild electronics. Edge of Dark nudges the pendulum back toward the jazzy side by adding L.A. reeds master Vinny Golia, pitting his sax next to Rent Romus‘.
Maybe that’s one way of interpreting the title being Edge of Dark — but it’s still dark. Romus has read a lot of Philip K. Dick and H.P. Lovecraft, and maybe combined with the current political climate, it adds up to some ominous, looming compositions.
There’s plenty of free-jazz energy to be found, though. The two saxophonists get into some nice sparring matches, as on “Over the Rift” (both of them on tenor sax). Golia shows of a fluid, rapid-fire style, generally more acrobatic than Romus’. Nothing against Romus — who puts forth a gruff attack and, as usual, adds lots of inventive expressiveness to his playing — it’s just that Vinny Golia is, you know, Vinny Golia.
In fact, Golia’s ebullient playing can sometimes dilute the dark mood, as on “Into Dune,” a creeping, freeform bass-and-drums exploration. Golia’s solo is bright and energetic, cutting away the near-psychedelic wandering nature of the track for a few minutes.
But it’s not as if he doesn’t fit the personality of the album. Golia does well at enhancing the slowly intense burn of “Spreading Tar of Cosmic Microinfinity,” adding a wailing soprano sax to the song’s bellowing midpoint. And he puts in a furious solo on “Over the Rift,” another track with a slow and heavy feel.
Some of the album’s highlights come when Golia takes the spotlight completely — just him against just the drums and bass, and maybe a twiddle or two from C.J. Borosque’s electronics. “Body of Memory” is a good example, with Golia going all Evan Parker on us in a twirling, fluttering solo backed only by quiet drums and ominous electric bass (played by longtime Lords members Philip Everett and Ray Schaeffer).
Just to show the dark album doesn’t want for lighter moments: “Ovular Amphivoid” is actually kind of swingy, one of the most directly jazz-derived tracks. It cuts immediately into cutting, choppy free-jazz soloing, with Romus grumpy and puffing and Golia in overblowing mode. “Night Nova” has a springy ’60s free-jazz feel, partly because of Golia’s darting flute. The track quiets down for an electronics solo, after which the band adds some abstract vocalizing to the improvising.