Nowhere, Now Here: Reviews and Press
Kevin Kastning & Carl Clements - Nowhere, Now Here
Kevin Kastning, acoustic guitarist
extraordinaire, and Carl Clements, reeds player of repute, team up again on
Nowhere, Now Here, their latest foray into sonic landscapes of gently
rolling hills, autumnal mists, and big skies.
Without further ado, watch the video below and you can hear Kevin and Carl play
the first piece on the album.
http://www.youtube.com/watch?feature=player_embedded&v=Tvju28eEsTg
On this song Kevin plays one of his
inventions, the acoustic monster that is the 30-string contra-soprano guitar,
the instrument featured in the video montage. Accompanied by Carl's soprano
saxophone, the duo weaves a tapestry of delicate yet strong sound that sets the
scene for the record.
Occupying a space where melodious free jazz, acoustic improvisation, chamber
music and ambient music meet for a nice civilised cuppa, these songs are all
highly intricate affairs, the two players complementing each other's highly
developed sense of space and musicality perfectly. All the compositions are
credited to the two of them, and it is not indicated anywhere on the CD or in
the press release if this is an improvised or scored work. It certainly sounds
like it was scored, but conversely, and given the high skill levels of these two
musicians, it could easily have been improvised.
Leaving that aside, it is the case that the combination of instruments here
lends the music a more organic and slightly less cerebral feel than some of
Kevin's other works, solo, or in tandem with another guitarist.
The other inventions of Kevin's to feature on
this set are the 17-string and 16-string Contraguitars, and Carl also plays
tenor sax and alto flute, the latter given a first showcase on the sublime
Somewhen. The modal melodies and spaces left are superbly highlighted on the
feather-light and suitably titled Incomparably Light And Repose, and, like all
the other compositions here, will reveal so much more when listened to on a good
set of headphones. Greydisc Records are known for their high quality audio, and
this CD is no exception. Thankfully, you will not find any of that modern
malaise here; the loudness and compression that is prevalent nowadays in all
genres of music as a sop to the cloth-eared mp3 generation.
Deceptive Corridors Passing features more of Carl's breathy alto flute
and some dexterous picking from Kevin, again on the 30-string guitar. There is a
lot going on here, background becomes foreground and vice versa as we float off
on a blissful reverie.
This album is near on capacity length for a CD, but such is the nature of this
deeply involving music that one does not really notice the passage of time. I
would recommend however that you do not use this as background music as a lot of
it will pass overhead un-noticed, a fate that it does not deserve.
The spatial exploration continues on Rust In Form, an extremely unhurried
oxidisation of song structure, by the sound of it, and quite a challenge. When
the pace picks up on the following Overmorrow II, another combo of the
30-string and the alto flute, Carl gets quite animated and some fast
contrapuntal fretwork from Kevin presents us with a neat examination of the
duo's intuitive interplay. I would like to hear these two in a band format,
possibly playing a take on jazz fusion that I've no doubt would be breathtaking.
When these songs take on form, Carl is the lead player, as on the following
Woven Sunlight And Leaving, wherein his soprano sax calls out through the
mists, a beautiful keening but not strained sound, which Kevin follows with
nimble-fingered ease, this time on the 17-string Contraguitar.
The 30-string really comes into its own on
First Hovering; First Vanishing. This instrument has an astonishing range,
and the nearest equivalent I can think of in the rock world is the touch guitar
as wielded by Trey Gunn and the now countless followers in his wake.
The wonderfully titled Delirium Membrane Circuit should be a heavy beast
of a thing, and in my mind's ear I can hear the abrupt intro being belted out by
the new three drummer line up of the mighty Crim! Of course, it's nothing of the
sort, but it is definitely angular and experimental, and something the League Of
Crafty Guitarists could have fun with I'm sure.
We end the album with the restful and contemplative Both Ends Of Two
Rainbows, and once again the favoured combo of 30-string contra-soprano
guitar and alto flute play the soundtrack to your daydreams, and lovely stuff it
is too.
Kevin Kastning and Carl Clements have fashioned a truly inventive and natural
sounding album, but it is as far removed from "rock" music as can be. It is
however, most definitely "progressive", and that's what it's all about, as far
as I'm concerned.
Conclusion: 7 out of 10
ROGER TRENWITH
–
Dutch Progressive Rock Page (HOLLAND)
"The
strong reputation of guitarist/composer/inventor Kevin Kastning speaks for
itself: As composer and performer he ranks among the more intelligent, sincere
purveyors of "serious" contemporary instrumental music. In fact, Kastning
designs his own instruments. Here he performs on 30-string (!) Contra-Soprano
guitar, a 17-string Contraguitar, and 16-string Contraguitar.
This second duo effort teaming Kevin and saxophonist/flautist Carl Clements is
another series of experimental pieces requiring focused listening. To an
untrained ear, the angular tangles of acoustic guitar and woodwinds might seem
improvisational when, in fact, these pieces are strictly charted. This is
serious stuff, occupying an impressionistic netherworld between jazz and modern
classical. It's certainly not for everyone. yet despite a thorough lack of
melody, Nowhere, Now Her avoids academic sterility in fostering an array of
moods - from languidly contemplative to edgily pensive, and points between.
The niche audience for earnest experimental music will appreciate there 14
unconventional excursions."
-
Progression Magazine
(US)
Autumn 2013 issue
Kevin Kastning-Carl Clements:
Nowhere, Now Here (greydisc)
Kevin Kastning (guitars) és Carl Clements (sax)
Nowhere, Now Here the two musicians' second album continues the style and
music of the previous album called Dreaming As I Knew (2012)
2013. december 26.
Contemplation and the documentation of lyrical sensory experiences are the
guidelines of the new album. The near 80-minute long repertoire with its 14
tracks offers a great opportunity for contemplation. (The „wise” know well that
the listener becomes a higher grade medium of the real music.)
The compositions of the Kastning-Clements duo are often shaping around analogies
(like Woven Sunlight and Leaving, A Whispered Believing, and
Both Ends of Two Rainbows) and by the elaboration they get their power of
expression. The structure of compositions are quite complicated but there are
some which have special complexity, like the Lunar Incantation Precision
and Overmorrow I-II. Many people conceive that the abstract form
consequently comes from the the complicated melodic structure. No doubt that
this statement can be verified by several examples but there are many other
compositional devices, too which makes the sound of music abstract. The tracks
of the new album of the Kastning-Clements duo belongs to this category.
Not the precomposed set forms, the precise systematization but the unbound
fantasy and the sensitive introspection gives the real power of the Nowhere,
Now Here. If we let ourselves to this music it can warm up our soul with its
sensitive observation and can be poignant by its stern truthfulness.
Musicians who want to ladle of the source of music they should approach it
submissively with endless devotion and veneration. Knowing Kastning’s music
activity it can be stated that he knows the right path to the source….
Musicians:
Kevin Kastning – 30 string Contra-soprano guitar, 16 and string 17 string
Contraguitars
Carl Clements – tenor sax, soprano sax, and alto flute
– Mihály Czékus
–
Gondola Magazine (HUNGARY)
Nowhere, Now Here
Artist: Kevin Kastning (Contra-soprano guitar 30 strings, Contraguitars 17
strings and 16 strings) and Carl Clements (tenor saxophone, soprano saxophone,
and alto flute)
Musical Work : Written by Kevin Kastning and Carl Clements
Artistic Design : Amanda Barrow
Technical Data: Recorded, mixed and mastered by Sándor Szabó Tandem Records
Experimental Studio ( Vac , Hungary )
Musical compositions you'll want to hear a thousand times. All items in this
album are a Masterpiece.
Merge musical instruments like guitar, alto flute, and saxophone offering edgy
momentum in its definition of sound, is only available to a very small group of
artists around the world today, and Kevin Kastning and Carl Clements have done
so brilliantly and with talent in this new album "Nowhere Now Here." Released
July 2013 through the prestigious Greydisc Records label, the clever play on
words that gives life to its title has become the best presentation of
Kastning's sublime musical treasure kept inside it, in fourteen exceptional
compositional subjects acquire that irresistible physicality in the mind of
music lovers. Lux Atenea Webzine readers interested in contemporary music will
find this refreshing. The guitar offering the essential melodic basis on which
to raise these brilliant instrumental structures, alto flute giving that
background texture typical of the divine and the ethereal, and saxophone
conquering our soul because this vibrant profile that always has its presence in
a musical composition when it comes to reflect the constant state of uncertainty
and transgression that characterizes the human spirit, this exceptional ensemble
is seen as base colors being mixed by these two masters of the composition. In
their album "Nowhere Now Here," a listener can drink the melodic essence, both
searching a record edition and it is becoming harder to find and enjoy in its
most pure and clear conceptual definition. "Nowhere, Now Here" is an album
individualistic in orientation due to Kastning and Clements' metaphysical
profile where perspective is one way. "Nowhere, Now Here" is perfectly recorded,
causing the audiophile to observe their environment, their existence, and
everything around them in another vision. Sometimes sublime, sometimes
thoughtful, sometimes iridescent and energetic , than no doubt is that the
versatile topics dimension, as the true and authentic sound, impeccably honest
and sensitive in their creation and interpretation, clearly appreciating Sándor
Szabó's hand in mixing and mastering, the stunning sound will impress during
listening. In short, a sublime work presented in an elegant essential recording.
Acquire this album if you want to experience emotions and sensations through the
universal language of music. "Nowhere , Now Here:" saxophone, alto flute, and
guitars is high musical achievement at its best, thanks to the expertise of
these two virtuosos and their interpretive genius. Enjoy it!
- Lux Atenea
Webzine (SPAIN)
Nowhere, Now Here
Kevin Kastning, Carl Clements
Greydisc Records GDR3515
Adventurous instrumental music is alive and well on the 2013 CD release of Nowhere, Now Here by guitarist Kevin Kastning and multi-instrumentalist Carl Clements. Commenting on their new CD together, Carl Clements adds, "Our goals on Nowhere, Now Here were similar to those for Dreaming As I Knew, but we also wanted to try to explore some different territory. Kevin and I have a long history as friends and musical collaborators, and music for us is a kind of conversation." Nowhere, Now Here is the first album of its kind to feature Kastning's new 30-string guitar and the results are sonically amazing.
The Greydisc label has released a number of
excellent guitar-centric CD titles over the past 10 years and they continue
onwards with the Summer 2013 CD release of Nowhere, Now Here — an
instrumental duo album featuring guitar master Kevin Kastning and Carl Clements.
Into his fourth decade as a musician, Clements is a noted horn player and on
Nowhere, Now Here he’s featured on tenor and soprano saxophone as well as flute.
Somewhere between neoclassical and the fabled ECM style of instrumental /
experimental music, Nowhere, Now Here features Kastning working magic on his new
30 string Contra-Soprano guitar as well as his patented 16- and 17-string
Contraguitars. Paired with the sonic dexterity of Clements, Kastning is in rare
from on Nowhere, Now Here, which continues onwards with a similar form of
beguiling, magical musical ESP that works so well on his various collaboration
albums. Clements—described as being conversationally inclined, explorative and
emotionally invested in his musical approach—is the perfect collaborator for
Kastning’s deep web of sonic fretboard forays. Among Kevin Kastning’s best
collaborative works, Nowhere, Now Here is one of the most sublime
sounding, relaxing and deeply introspective CD releases of 2013.
www.kevinkastning.com / www.carlclements.com
–
Music Web Express 3000
magazine (USA)
July 2013
Nowhere,
Now Here
Kevin Kastning / Carl Clements
Greydisc - GDR3515
A review written for the Folk & Acoustic Music Exchange
by Mark S. Tucker
(progdawg@hotmail.com)
If you're by now familiar with the work of Kevin Kastning and his mysterious
world of neoclassicial chamber jazz—and I've penned many a critique in FAME of
his stuff, so what the hell's yer excuse, Jeremiah?—this CD, highly anticipated
by me and his ever growing legion of sonically literate fans, is going to
intrigue your obviously sophisticated palate due to its simultaneously
idiosyncratic and baroque wonts. Nowhere, Now Here expands the Kastning
catalogue modally by re-ushering in a horn player rather than a second guitarist
and percussionist, as has previously mostly been the case.
As I've said, in many ways Carl Clements is a soul brother to my all-time
favorite sax player, Jan Garbarek, because of his almost monastically outré
stylings and thinkery blended with a bit of Charles Lloyd (Somewhen) and others.
The imagery suggested by Kastning himself, in his many outings, has ever been of
a Redon / Ernst / Miro / Klee / Pollock / Greco / Dali / Matta / Tanguy / etc.
bent, and Clements injects an almost abruptly more the-rest-of-Oregon-esque
element into what heretofore reflected a hell of a lot of Ralph Towner per se.
Incomparably Light and Repose in fact sounds damnably like that magnificent
band's earliest period (Music of Another Present Era and so on) rather then the
Towner / Abercrombie collaborations frequently so meltingly, hauntingly
displayed.
Though the liner notes do not say one way or the other, Kevin has worked almost
exclusively in improvisational modes, so I'm guessing that's the case here as
well, even though his entire oeuvre at first appears meticulously charted. Too,
the gent's forever working with luthiers to produce new stringed instruments,
and Nowhere features, among other things, the 30-string contra-soprano guitar
and 17-string Contraguitar, as the "composer" (Kevin and I agree that all music
writing is improvisational from the git-go) continues to wring from the material
world that which will perfectly reduplicate what wafts through his incisive mind
and imagination.
Nowhere, Now Here is another in a continuing set of entablatures of
worlds we know, dream of, guess at, and are endlessly surprised by. You can
start wherever you please in his lengthy catalogue and be just as at home and
hypnotized as with any other of the CDs—this one, that one, it doesn't matter.
All that's required is that you listen. The rest will take care of itself.
–
FAME
Magazine (USA)
July 2013
Kevin Kastning / Carl Clements — Nowhere, Now
Here
(Greydisc GDR 3515, 2013, CD)
by Peter Thelen
Here we have something different. Not rock, not jazz, not really anything that
can easily be categorized, perhaps something that might find a home somewhere
between the ECM or Cold Blue labels. There are fourteen pastoral meandering
compositions for 16 and 17 string Contraguitar, 30 string contra-soprano guitar,
tenor and soprano sax, and alto flute. One might suspect that improvisation was
the genesis of these compositions, but refinement and clarification have driven
them to a state of idyllic perfection. There is plenty of variety in the
combinations of instrumentation, but there are never more than two players at
any time (no overdubs), and no percussion, so this is chamber music in a sense,
in its purest form but beholden to no genre, certainly not classical, although
one can hear the trace elements of many things from one measure to the next as
each composition unfolds and reveals itself. Gentle, dreamy, dulcet,
captivating, and explorative – just a few descriptives that are applicable here.
There is very little repetition, so these pieces are always evolving and
changing as they go along, moving forward and never repeating. Probably for this
reason more than any, the listener can immerse themselves completely in this
while it’s playing, but retain little after the experience other than a memory
of something curiously beautiful, but with few details.
–
Exposé Magazine (USA)
July 2013
GREYDISC
KEVIN KASTNING-CARL CLEMENTS/Nowhere, Now Here
If you thought Toulouse Englehardt was
playing guitar from Mars, Kastning is playing guitar from the next galaxy. Never
covering the same recording ground twice, Kastning hooks up again with duet
partner, sax/flute player Clements for a set of duo/chamber jazz from the future
that should probably have been released on a label with a name like ‘ECM
Squared'. Deceptively simple stuff that will somehow turn your head to Silly
Putty as it finds the vortex of jazz/new age/world/25th Century, Kastning is the
new Charlie Christian--but of the distant future. If you're an acoustic guitar
fan and you aren't hip to him yet, take your Smartphone or tablet to the
bathroom the next time you think you'll be in there long enough to get some real
reading done and run his name through our search box. Get on board, he's a once
in a generation talent.
–
Midwest Record
magazine (USA)
July 2013
Kevin Kastning , Carl Clements: Nowhere, Now Here
The Kevin Kastning/ Carl Clements Duo appeared
with a recent new album after the successful Dreaming As I Knew. Having a
look at the instrumentation ( guitar and sax) the one can be surprised.
Listening to the Nowhere, Now Here we can hear how much new possibilities
were utilised on this album in the duo setup. Before we deal with the music in
details we have to know that the album was released oversea ( Greydisc) and it
is also important to mention that the album has a Hungarian concern. The mix and
mastering of both albums was made by their frequent musician fellow Sándor Szabó
in his mastering studio in Vác/Hungary.
The repertoire of the new album contains 14 tracks with a total of almost 80
minutes playing time, all the compositions are by the duo members. People who
follow the the activity of Kevin Kastning know well that his music invites the
listener to the transcendent reality. We can experience this again on this
album. The title of the tunes like „traffic signs” suggest where we are on the
road, on the inner road. We can enter the super highway by the opening track (Lunar
Incantation Precision) and passing by various landscapes we can arrive at
the destination (Both Ends of Two Rainbows).
The Nowhere, Now Here perfectly illustrates that the playing creates
another world. Its rules temporarily suspends the rules and laws of the „real
world”. The most significant property of this „ other world” is that it suspends
the structure of time we can sense in the weekday life. The player has his its
own time which cannot be measured and compared with the general units of time in
a society, only with its own units. In the weekday world the time can be 3
o’clock, today, and this year, however in the world of playing the first track
measures the time as a reference. The player exits the general time and enters
another time.
The other property of the playing is the joy. The joy is the goal of the
playing. If the the player reaches it, then the time structure of the player’s
world takes on the perpetuity. The time of the player is completely different
than in the real world. The player enjoys the playing (creation) and he steps
over from the chronology to the perpetuity. In the playing the time stops. The
inner and ultimate goal and sense of the playing is proved by the transcendent
experience. Though this statement can be construed as a propitious illusion and
seems to be unproved, after all, any of us can experience the time of our
deathless childhood. The adult can also experience the self-proving shine of
transcendent joy a few times in its life. The ultimate proof of the playing
recalling the childlike joy can be found in this music. We can hear and feel the
joyful playing of two great musicians on an audiophile-quality Kastning/Clements
album. This is the most significant release of the summer!
–
HiFi Portal Magazine (HUNGARY)
August 2013
Kevin Kastning & Carl Clements -
Nowhere, Now Here
Created on Wednesday, 25 September 2013
Written by Scott Mertens
Kevin Kastning & Carl Clements, Nowhere No Here as reviewed in The Phantom
Tollbooth
Sometimes full of sorrow, sometimes full of joy,
this offering takes the listener on an inner journey.
Artist: Kevin Kastning & Carl Clements
Label: Greydisc
Release Date: July 16, 2013
Duration: 14 tracks, 1:16:40
Kevin Kastning, having a number of albums to his credit, is an acoustic
guitarist extraordinaire having invented the 30-string Contra-Soprano guitars
and both the 16 and 17 string Contraguitars. Carl Clements is both a jazz master
of tenor and soprano saxophones, as well as, alto flutes, again with many
compositions. Together, their music is spacious and spiritual with Kastning
laying the foundation for Clements to paint the picture with reeds.
Nowhere, Now Here features Kastning playing 30-string Contra-Soprano
guitar, 14-string Contraguitar, 12-string alto guitar, and classical guitar, and
Clements playing tenor and soprano saxophones and alto flute. The combination
gives a sound similar to the ‘80s Jade Warrior prog/psych offerings crossed with
an occasional pre-jazz fusion Miles Davis-like sound on Clements reeds.
Like a stroll through a dark, early morning forest, “Lunar Incantation
Precision” sets the pace taking the listener to a private place. Throughout
the collection the listener embarks on a dream-like voyage at times encountering
darker imagery as in “Incomparable Light And Repose” and “Rust In
Form,” at others the tone is full of wonder and movement as in “Overmorrow
I” and “Overmorrow II” with guitar rhythm easily accentuating the
flute or reeds.
Throughout, there exists a personal, emotional experience. In a quiet place,
with nothing specific to gain one’s attention, the music takes over whisking the
listener to another plain. An example of this experience is found in the
intricate play between guitar and horn being full of wonder and adventure as
found with “Into Propagation Suspension.”
Adventurous, tone-true and very well balanced, Nowhere, Now Here tells a
complete instrumental story. Sometimes full of sorrow, sometimes full of joy,
this offering takes the listener on an inner journey.
—
The Phantom Tollbooth (USA)
"Hi Kevin
I listened to Nowhere, Now Here for a few minutes before I left and to be honest i was
too rushed to appreciate it but then I got a quiet evening to immerse myself in
it and fully appreciate the music and instrument.
I have to be in the right place to listen to this kind of music but I got there
and found it moving. The 30 string truly gives a unique sound to this album. At
first many would wonder what they are listening to, Its almost like a
Harpsichord at times, Its complexity and wide range really can be heard to the
full.
I'm glad I have heard this now as it helps me understand you more and the music
you needed this guitar for. Its starting to all make sense now.
Thank you
Alistair"
– Alistair Hay
Emerald
Guitars (IRELAND)
"Finished listening to Nowhere, Now Here. Tracks 11, 12 and 13 are really stand out tracks - great. You're playing throughout the album is fantastic. I'm hearing sounds coming out of your guitars unlike any sounds I've heard out of a guitar before. I think your playing is going from strength to strength over the past two or three years. You seem to be able to able to create orchestral/chamber/quartet like textures and harmonic/sonic movements and with those bring real time composition to a new level."
–
Mark Wingfield
(UK)
Hi Kevin,
First of all, Nowhere, Now Here, a wonderful CD, I listened several
times, I can not get enough of it.
Incredible voice is heard on the 30-string, fantastic, a brilliant musician Carl
Clements, I like to play it. Very very nice work of art, congratulations to you.
When I hear this kind of music, the sun shine in, thank you.
– Balazs Major (HUNGARY)
Dear Kevin,
This weekend I listened to your new CD with Carl Clements. Thank you so much for sending it over to me and to let you hear your wonderful music. I really enjoy this music! I was touched by the sound of your new Emerald guitar.
– Ralf Gauck (GERMANY)