Drive By
In many ancient cultures music is a tool for trance. Repeated figures, varied ever-so-slightly, can beckon you into a form of meditation where the outside world doesn t matter nearly as much as what lies within. Traditional drumming from Ghana, for example, centers itself around rituals relating to birth, spirits, and death. Westerners absorbed this idea in a very ass-backward way when modern classical composers like Steve Reich incorporated minimalism into a framework of repetition. The idea has been taken further by post-rock groups like Tortoise, who make use of studio tools to get it just right.  The Australian group known as The Necks takes advantage of both approaches: marathon cycles of riffs and beats frame intermittent piano swirls,  found sound  samples, and electronic effects. Drummer Tony Buck serves as the locomotive for this trio, laying down a direct and straightforward groove that persists more than an hour. The title track is the only track on Drive By, so you have to admire the concentration required. If you're not willing to be hypnotized by this music, chances are you ll find it highly annoying or turn your attention elsewhere. That s your choice, but I strongly recommend surrender.  All of these three instruments (piano/organ, bass, and drums) have the potential to be a percussion instrument, and most of the time that seems to be their primary function. (Acoustic) bassist Lloyd Swanton lays down the most deceptively simple parts of the intertwined whole, often four-note riffs syncopated with snare hits and keyboard figures. The rhythms come in units of three, four, six, and seven, often directly juxtaposed, but you wouldn t necessarily know that unless you screwed on a thinking cap.  The jazz element on Drive By mostly comes from the keys of Chris Abrahams  user-friendly organ and pedalled piano. To the extent this music has a melody, you ll find it there. But short phrases, swirls, and gentle cascades comprise just about all of it, and in --Nils Jacobson, All About JazzListening to anything by the Necks is like gazing into an oriental rug depicting a linear yet still intricate pattern. You don t so much listen to Drive By; you become immersed. Drive By is a single track lasting 60 minutes, but you ll hardly notice the hour go by. The Necks, based out of Brisbane, Australia are Chris Abrahams on electric keyboard and piano, Tony Buck on Drums and Lloyd Swanton on bass. Each artist is a well respected performer in his own right, dabbling in everything from praised recordings to film scores. It s tempting to call them a  jazz trio,  but the Necks share more in common with Can, Charlemagne Palestine (think Strumming Music), house and techno than any jazz musician per se. In fact, apart from musical touchstones, one would be hard pressed to find artists producing similar work.  The beauty of the Necks lies in their deceptive simplicity; an attentive listen reveals lots of complex arrangements at work. Drive By is certainly more kinetic and infectiously rhythmic when compared to their more atmospheric earlier releases like Aether and more soulful than the frenetic and darker themed Hanging Gardens. The CD opens up with electric keyboard followed by the rustling, arterial pulse from the acoustic bass and paradoxically rhythmic yet discordant percussion.  Over the course of the set, each player grabs the spotlight and takes it on a short tangent, too restrained to merit solo status, arranging and rearranging the precedence of their instruments. The most understated tangents come from the acoustic bass, shifting from steady to fluttering throbs while the keyboards and piano offer the most adventurous attempts. The rhythm section articulates the tempo and drive of the CD, providing infectious danceable beats. In addition to trance inducing keyboard patterns, Abrahams also employs shimmering, crisp piano notes that feel like buckets of cool water attacking sweat-drenched dancers. An interesting addition to Drive By is the use of field re --I Khider, Dusted