Delight at the End of the Tunnel

David Slusser

Electro-acoustic Theater of the Ear

AllMusic Review by Nitsuh Abebe David Slusser's work history ranges from collaborations with John Zorn to music editing for Francis Ford Coppola and George Lucas, and co-composing with David Lynch. Delight... demonstrates why -- Slusser has a sense of cinematic composition and sound collage that is simply amazing. "Kubrick" is a wide-screen tone-poem that (like all of Slusser's work) goes beyond any sense of "experimentalism" into something concrete and fully realized, while "Dragon" accompanies the sound of the Chinese language with cymbals, bells, and bowed metallic objects to create sounds that capture the entire image and sense of the dragon in eastern mythology. Other tracks assemble resonances and decays of piano tones into concrete compositions that are as beautiful as they are simply fascinating. An excellent collection that makes your average "experimentalist" seem completely misguided.

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Rubber City

David Slusser

Plucky modern jazz with film noir overtones and sly humor.

Chris Ackerman -drums, Ralph Carney -sax, Bill Fairbanks bass, David Slusser -reeds Richard Saunders -bass on Blues for Lucifer, Myles Boisen -guitar on Ornette-thology

"fashionably quirky...burns up his soprano saxophone" Ohio expatriates David Slusser and Ralph Carney pay tribute to their rust belt beginnings on the Akron-inspired Rubber City. Slusser recorded these live quartet performances in the San Francisco Bay Area, with guests dropping in to add flavorful touches. Slusser, Carney, and drummer Chris Ackerman all barely escaped Ohio without gross disfigurements from industrial accidents to make music on the West Coast. Rounding out Slusser’s quartet is bassist Bill Fairbanks, who is not from Ohio, but once received a death-threat telegram from Youngstown.

Slusser has worked in film and music editing with the likes of Lucasfilm, David Lynch, and Francis Coppola. His previous recording Delight At The End Of The Tunnel (Tzadik), is a sound sculpture soundtrack. Here Slusser and Carney play fashionably quirky theatre music. For Carney, a veteran of Tom Waits’ bands, this is familiar territory. The disc opens with "Twilight Erie" a Charles Mingus meets the hard-boiled detective soundtrack blues piece. Slusser lets you know you are in for highly stylized music. Their take on the traditional "Beautiful Ohio" (don’t worry if you aren’t from Ohio, you’ve never heard it) is straight out of the John Kirby/Raymond Scott cartoon-music-is-serious-music school with its time and style changes to hunt wabbits with. The band (and listener) is interested in a good time here. While honoring Steve Lacy with "Steve’s Shorts (Lacy Under Things)" the musicians take time ala ICP Orchestra to bark like dogs. Splatter Trio guitarist Myles Boisen joins the quartet for "Ornette-thology." Together they shape a convincing brand of harmolodics with an impressive saxophone run by Slusser. The highlight of the disc may be their take on The Byrds "Eight Miles High." Slusser bridges the rock classic with the music of John Coltrane, quoting from "India" as he burns up his soprano saxophone.

~ Mark Corroto, AllAboutJazz

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Trouble In Tiretown

David Slusser

film noir meets folk music and free jazz

David Slusser wrote all ten selections for this CD, utilizing an instrumentation that hints at the Ornette Coleman Quartet (substituting a second reed for Don Cherry's cornet) while adding a healthy dose of his wit and hints at earlier styles of jazz. "Jazzdeath," which is full of obvious song quotes and clichés, sounds as if the musicians are trying to kill jazz or at least satirize the hard bop revival of the 1980s, while other songs sometimes manage to be both inside and outside at the same time. The interaction between Slusser (who alternates between tenor, soprano, and bass clarinet) and Ralph Carney (alto and clarinet) is colorful and accessible even when at its most explorative, and more complex than it sounds when their music borders on Dixieland and circus music. Bassist Richard Saunders and drummer Chris Ackerman are subtle and stimulating, while guitarist Robert Zucker is an asset on the two songs on which he performs. All of the concise originals have stories behind them outlined in Slusser's well-written liner notes. There is no lack of spirit and joy to these performances; highly recommended. - Scott Yanow, Allmusic.com

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Wild At Heart

David Slusser & David Lynch

David Lynch Film Soundtrack

"...duck-tailed rock & roll, and billowing Man From Another Place jazz" - Dean Carlson, Allmusic.com

David Slusser -piano, Bob Zucker & Myles Boisen -guitars, Bill Fairbanks -bass, Chris Ackerman -drums, Ralph Carney -sax on Perdita

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Elegy

John Zorn

"Another smeared blossoming testament to the off-color and highly obtuse genius of John Zorn. A mostly minimalist and sparse landscape of sheer terror and spine-ripping controlled noise explosion." - Blake Butler, Allmusic.com

Barbara Chaffe -flutes, David Abel -viola, Trey Spruance -guitar, David Shea -turntables, David Slusser -sound effects, William Winant -percussion, Mike Patton -voice

video of "Blue": https://www.youtube.com/watch?v=tEMfUvEzrUQ

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Twin Peaks Fire Walk With Me

David Slusser & David Lynch

"...a model of film music ideally matched to the images and actions it underscores."

  • Stephen Eddins, Allmusic.com

David Slusser -piano, David Cooper -vibes, Myles Boisen -guitar, Bill Fairbanks -bass, Donald "Duck" Bailey - drums,

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