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Ritual in Four Parts

by Crippled Symmetry

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1.
Part I 14:57
2.
Part II 10:23
3.
Part III 18:00
4.
Part IV 06:42
5.
Unity 06:00
6.
7.
8.
9.

about

From Aural Innovations #18 (January 2002)

Crippled Symmetry is a trio composed of Joseph Benzola on drums, percussion, electronics, piano, shenai, and bamboo flute, John Asta on drums, electronic and acoustic percussion, and Doug Kolmar on guitar and electronics. Long-time AI readers will know Benzola whose solo works we've covered in the past. Benzola composed all the music so it's no surprise that this is similar to the music on his solo recordings. Though he considers himself primarily a drummer, Benzola is equally adept at the keyboards and electronics play an important role in his music. So it's nice to hear him performing in a "band" situation as the dual percussion, additional electronics, and guitar make the music sound more like an orchestra.

The music is busy and varied, though totally controlled throughout. Percussion is the dominant presence, though the electronics and guitar serve far more than embellishing roles. On the 50 minute "Ritual In Four Parts" suite, multiple ethnic influences are apparent, and they form the basis and direction for a conglomeration of modern avant-garde composition and jazz. Part III of the Ritual is my favorite as it includes some killer freakout sections between the guitar and electronics that remind me of Sun Ra at his wildest. It isn't until this point that we get to hear Kolmar's guitar really come to the forefront and at one point takes on something of an acidic McLaughlin/Mahavishnu sound. The drummers also break serious sweats as they blast off into rocking jazz territory. And I really dig the parts where the electronics simulate a wild Coltrane styled free-jazz solo. I was fortunate to hear this composition performed live as Benzola shared with me a recording of Crippled Symmetry's show at the Ought One Festival in Vermont this past August, a genuinely tasty treat as he rarely performs live or with other musicians.

On "Part III" (a separate track from the parts of the Ritual), evenly paced percussion patterns begin their journey as ear piercing electronics scream. But this is only momentary and the Sun Ra keys soon kick in at a frantic pace that evolves into an electronic sax freakout. Probably the most gorgeously manic ten minutes on the CD. "Part IV" is a relatively short, but very dark piece that brings to mind the avant-rock of Univers Zero placed in a free-jazz setting. And "Unity", the closing track, is a Benzola solo piece that features the beautiful mixture of varied jazz percussion and experimental electronics that makes his music so exciting. Love that heavy wah'd organ!

In summary, the music on Ritual In Four Parts is as much on the cutting edge of modern composition and performance as Benzola's earlier works, and there's lots here to appeal to fans of avant garde jazz and even classical music. And fans of high energy adventurous rock music who have been tentative about exploring jazz would do well to check this out as you'll experience the same roller coaster ride effect that rock produces.

-Jerry Kranitz Aural-Innovations


Joseph Benzola is all drums, percussion and electronics. Based in New York City his musical perspective is one of non-discrimination, revelling in all kinds of genres, spanning almost the entire world. Merely leaving out any classical approaches even the bamboo flute makes an appearance on ‘Crippled Symmetry’, an album which features him and his co-musicians John Asta and Dough Kolmar. But most of this CD is all about rhythm or, to be more precise, the rhythm-like structures of ‘Ritual in Four Parts’. As a matter of fact, these four parts feature seven individual tracks, and they lead the listener into sometimes chaotic, then again jazzy moods.

While Part One sets the dominant tone of the entire CD, it also overwhelmes in terms of the major theme of this Ritual. Lasting a little over 50 minutes, drums and percussion are up front, heavy and dissonant, refusing to do what they once where designed to do: Giving an underlying basis, a steady rhythm to the music played. In this case the groove section manages to wreak havoc and bounce back and forth in unsteady displays, threatening complete devastation as far as what we ususally accept in our minds by endless listening-experiences of ‘the beat’. It all starts out with introductory bells, supporting the idea of a ritual, an almost religious affair, but they quickly dissolve into a huge void. Like the title of a book you’ll read and never see again, it still preaches the gospel. What happens after that is a keen experiment: Drums and percussion take over,demanding center stage. They are upfront, not in the sense of a traditional drum solo, but leading the pace, setting the tone and even creating a certain ‘melody’, if this word may be allowed due to the lack of other comparisons. Even the electronics, which feature virtuous sounds, reminding the listener of saxophone and flute play, executed sometimes in breathtaking speed and elegance, remain in the background and, in this case, take over the traditional parts of the rhythm section.Thus, this CD is a true experiment with an astonishing result. Containing all accustic elements of comparable music, it turns things upside down and is a ‘vice versa’ example of traditional approaches. On the other hand, it contains traditional sounds as well, including jazz, even folk elements of countries in Asia and Africa and many other influences. The last track called ‘Unity’ is indeed an attempt to console any possible differences which might have come up. Here the rhythm section returns to its ‘intended’ function, laying the basis for the music. Although still in the background as far as the degree of loudness is concerned, but at the same time clearly leading the battle, it features an electronic masterpiece of the famous Hammond B3 organ. It’s hard to verify whether Joseph Benzola really used an original Hammond B3, but he sure made his organ sound like one. And not only that, but its play is reminiscent to many a famous player of the past in its breathtaking virtuosity.

At this point the ‘Ritual In Four Parts’ comes to a satisfying closure. Interestingly enough, this last piece has been recorded months before the other Parts. But this doesn’t matter. Regardless of whether or not you like this music, it is consequent in its build-up, and its intelligent structure is telling a great story about the possible variations in the tasks of musical instruments.

-Fred Wheeler- Tokafi Magazine

credits

released July 7, 2001

Joseph Benzola- Drums, percussion, electronics, shenai, bamboo flute, piano

John Asta- Acoustic and electronic drums & percussion

Doug Kolmar- Guitar & electronics

On Unity:

Joseph Benzola- Drums. percussion, organ.

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about

Joseph Benzola New York, New York

Acoustic and Electro-Acoustic Composer and Creative Improviser. Played in the small and big bands of Makanda Ken McIntyre in the mid 1980's. Have released many solo albums since the early 1990's on my Amanita Music label. Currently involved in further development of my solo improvised language. ... more

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