The Count Visits
Hot Cars Warp/Flowerhouse Records 14/03

Unbelievable out-of-nowhere limited edition private press LP, co-released by Mick Flower and Chris Corsano, that documents an expanded Flower-Corsano Duo, now with Count Hejnowski aka Matt Heyner of The No-Neck Blues Band/Test/Malkuth et al on electric bass. Safe to say that with the loss of the late Yasushi Ozawa Heyner has taken the crown of greatest living improvising electric bassist and his addition to what is merely one of the all-time greatest free music duo partnerships pushes the whole deal into the stratosphere. The sound is amazing, recorded live at Issue Project Room in Brooklyn, NY across two nights in October 2009. Flower – best known for his helming of the UK’s Vibracathedral Orchestra – has single-handedly reinvented the Japan Banjo as a sonic reducer par excellence, combining endless riffing euphorics that are somewhere between John Cipollina and Sonny Sharrock with a droning, modal style that is uniquely brain flattening. Corsano is, of course, the wildest drummer on the planet and the combination of their limbs feels like the ultimate free music cocktail, re-wiring Fire Music modes with vertical stratas of technicolour. Heyner comes in with a totally brutal bottom end attack, playing fast bass runs that serve to nudge and pummel the music into new zones of dunt, at points bulldozing the front line with all of the steamroller force of Mik’s work in Kousokuya or even Fushitsusha. Indeed, together the three of them succeed in storming the kind of heavenly metal/free jazz/garage/psych zone that Last Exit were always pitching towards but never quite made it, mostly down to Laswell airbrushed bass attack. No such qualms here for Heyner who plays with a blunt, bloodied tone and with the kind of logic that only works to bolster the full-bore ascension style of the duo. It’s not all wall-destroying force tho, and there are some nice almost Pharaoh Sanders-style cosmo bliss outs in amongst alla the thunder. Four tracks, with Heyner doubling up on drums on a single cut. Last minute candidate for hands-down album of the year? No question. Highest possible recommendation!