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Siren's Song 4:11 ░░ 02. O 6:48 ░░ 03. Azimuth 12:14 ░░ 04. The Tunnel 9:14 ░░ 05. Greek Triangle 2:04 ░░ 06. Jacob 8:47 ░░ 07. Eulogy 10:22 ░░ 08. Silver 6:26 ░░ 09. Mayday 5:27 ░░ 10. Jero 6:18 ░░ 11. Prelude 5:33 ░░ 12. See 10:46 ░░ 13. The Longest Day 6:27 ░░ 14. Autumn 11:06 ░░ 15. ArrivΘe 7:48 ░░ 16. From The Window 1:09 ░░ 17. Windfall 4:32 ░░ 18. The Rabbit 2:34 ░░ 19. Charcoal Traces 4:32 ░░ 20. DΘpart 10:25 ░░ 21. The Longest Day (Reprise) 3:46 ░░ ░░ ░░ ░░ ╔═══════════════╗ ░░ ║ N O T E S ║░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ ░░ ╚═══════════════╝▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ ░░ ░░ Three albums in one, compilation. ░░ ░░ Azimuth (Tracks 1 - 6): ░░ ░░ The group that would become Azimuth began its journey on this self-titled ░░ album. ôSirenÆs Songö rests on the forgiving laurels of a repeated motif, ░░ gilded by a horn-flanked voice amid pianistic accents. Like a Steve Reich ░░ riff dropped in a pool of jazz, it treats the pulse as the animating ░░ force of its creation. Wheeler broadens WinstoneÆs palette in the melodic ░░ relays of ôO.ö The title track is buoyed by a stunningly gorgeous ░░ arpeggiator, over which Winstone sets to flight a pair of overdubbed ░░ birds. Once they have flown away, Wheeler draws between their pinpointed ░░ forms a sinuous trajectory, along which one is able to chart the albumÆs ░░ path with even more fluid precision. The synthetic backdrop builds in ░░ scope, turning what might otherwise be a repetitive New Age loop into an ░░ elegiac improvisational exercise. The plaintive piano introduction of ░░ ôThe Tunnelö extends this supportive electricity, into which Winstone ░░ begins to sow her potent words. Semantics trail off into further ░░ meanderings, reminiscent of the previous track, before the backdrop ░░ morphs into a stunning change of key. This makes ôGreek Triangle,ö a ░░ curious piece for brass, all the more whimsical for its appearance. ░░ Though outwardly incongruous, it breathes with the same focused spirit ░░ that animates the whole, thereby elevating it beyond the status of ░░ fanciful diversion. It also serves to refresh our palette for the ░░ lyricism of ôJacob,ö in which WinstoneÆs braids and WheelerÆs fluid ░░ accents close an altogether fascinating mosaic of atmospheres. ░░ ░░ The Touchstone (Tracks 7 - 12): ░░ ░░ AzimuthÆs second ECM effort is also the groupÆs most enigmatic. The organ ░░ that underlies ôEulogyö gives just enough air for Wheeler to glide, and ░░ injects all that follows with deep, warm breath. The trio writes a more ░░ intimate letter in ôSilver,ö answered in the unsteady penmanship of ░░ ôMayday,ö over which our soloists take great care to dot every i and ░░ cross every t. The distant muted trumpets of ôJeroö mesh with WinstoneÆs ░░ ambulatory menageries. Taylor draws a fluid line through their ░░ incantations, ignoring the periphery all the way to the end of ôPrelude,ö ░░ a track so lovely that it makes one want to listen to the album ░░ backwards. This is an elusive set, to be sure, filled with quiet, ░░ seething power, but also one that builds its nests comfortably over our ░░ heads. It can only fly, because it knows no other way to travel. ░░ ░░ DΘpart (the rest of em): ░░ ░░ For its third outing, Azimuth welcomed the strings of guitarist Ralph ░░ Towner. ôThe Longest Dayö opens in Solstice territory, setting out ░░ through a drizzle of piano and 12-string. WinstoneÆs overdubs visualize ░░ gossamer veils of more distant storms, while WheelerÆs soulful trumpet ░░ shines like the sun beyond them. Winstone takes her voice to unexpected ░░ heights, pulling a banner of time across the sky into the contemplative ░░ piano introduction of ôAutumn.ö There is no falling. Rather, we get the ░░ stillness of those leaves before they die, hanging on with their last ░░ vestments of color as the winds arrive to shake them from their boughs. ░░ Winstone hangs words in the air amid TownerÆs almost pianistic fingerings ░░ and WheelerÆs staccato cries. ôArrivΘeö is just that, but is one of many ░░ destinations in this sojourn. Incising solos leave their wounds, closed ░░ at last by the plasma of WinstoneÆs mellifluous protractions. This is ░░ followed by a quartet of so-called ôTouching Points,ö which further ░░ extrapolate vocal information from instrumental sources, and vice versa. ░░ Wordless fibers are at once spun and frayed in passages of intense ░░ physicality. Towner is put to improvisatory task, adding tentative yet ░░ appropriate ornaments of his own. The organ drone of the title track ░░ respires beneath WinstoneÆs dips into thermal bliss. Words spread their ░░ branches, wrought in tinsel and blown glass. The album ends with a ░░ reprise of ôThe Longest Dayö for piano alone. Resplendent and ░░ far-reaching, it is a bittersweet ending to AzimuthÆs most fully realized ░░ effort, through which the project honed its sound to an art. ░░ ░░ https://play.google.com/store/music/album?id=Bioyc33jbss4jiq2trrsnjilhiq ░░ ░░█ ░░███ ░█ ░░░░██ █▓█ ████░ ░░░░░██ y o o v e e y o o █████ █████ ░░░░░░██ g o t t h e ▒████░ ██▒▒██ ░░░░░░░█ ░ ██▓██ ▓█▒██ ░░░░░░░█ ███ ███ ███ ███ ███ ████ ▒▓███ ▒███ ░░░░░░░█ ░█ █░█ █░█ █░█ █░█ ░███████ ████░ ░███ ░░░░░░░█ ░███░███░█ █░███░███ █████████▒ █████ ██ ░░░░░░░█ ░█ ░█ █░█ █░█ ░░░█ ██████████████ █████ █ ░░░░░░██ ░█ ░█ █░█ █░█ ░█ ██████████████████ ████▓ ░░░░░██ ░█ ░█ █░█ █░█ ░█ ████████████████████▒ ░░░░██ ░█ ░█ █░█ █░█ ░█ ▓██████▒▒▒▒███████░ ░░░██ ░█ ░█ █░█ █░█ ░█ ▓█████▒███████████ ░░░█ ░█ ░█ █░█ █░█ ░█ █████▒▒░████████ ░░░█ ░█ ░█ █░█ █░█ ░█ ██▓██▒██▓███▒ ░░░█ ░█ ░█ █░█ █░█ ░░░█ ██████████ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ░░░█ ░█ ░█ █░███░█ ░███ ▒███████ /─────────────────────────\ ░░░██ ███ ░| shouts 2 all the groups |░ ░░░░██ ████ ░| putting out |░ ░░░░░██ █████ ░| quality music |░ ░░░░░░███ ████▒ \─────────────────────────/ ░░░░░░░▓▓█████████████▒ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀