Utterly obscure and extremely curious, Buratti's field of operation is out jazz, but his choice of instruments and his minimal and idiosyncratic M.O. make this lost slice of weirdity truly ahead of it's time. While both his collaborators and their remit differ greatly from side to side, Buratti's personal musical arsenal on both consists solely of bass potentiometers, generators and sound effects. Viewed from a certain vantage point, this makes him the grandaddy of contemporary onkyo/lower case/hairshirt improv, prefiguring these strategies by close to 30 years in some respects, but I digress. "Explosion" is, expectedly, the blood-spitter of the two, deceptive flute tootles presaging cacophonous lunges into lopsided cabaret-ish piano pound, disjunctive dictophone chatter and massively close-miked and loud acoustic bass plucks. Wonderfully weird shite to be sure, and with a rigorous and bracingly modern edge that, time-frame-wise, really only compares to Wolfgang Dauner circa "Output", but "Four Tunes For A Waltz" is the real capper here, if ya ask me. Grooving in a rawly frazzled fashion that has a certain akin to both Toto Blanke's live album with Electric Circus and the scrappily wasted and loose limbed side of krautrock ala Spacebox on the one hand and Zippo Zetterlink and Ejwussl Wessahqqan on the other, though aspects of both Rahsaan Roland Kirk and AACM-related stuff suggest themselves elsewhere as well. A serious find, methinks.
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