PICTURE THIS:

Reach

Released 1998. Contact Peter Engisch, Adastra Studios, PO Box 384 Williston, VT 05495. Phone: (802) 872-8583. For more info, contact: http://picturethisjazz.com/. SONGS: Tell It Like It Is, Alaskan Spring, Something About Elena, Miles Away; Push, Reach, Chocolate Amber, More Ways Than One, Courage of a Smile. PERSONNEL Matthew DeLuca, drums, Peter Engisch, keyboards, percussion, jerome Monachino, guitars, percussion, vocals.

Review by John Barrett, Jr.

Picture this: low drifting synth, and a piano lost in thought - like the slow parts of 'Who Are You." A beautiful stillness, and then it starts running. The cymbals rush, and a guitar starts to dance - soft, with a bit of splash. The patterns go faster, and still it seems effortless: thank Jerome Monachino, and the ever-changing piano. It's a child in the countryside (that's ]erome, hummmg sweetly); it's a torrid breeze. The listening is easy, and the pulse is high. That's a pretty picture.

"Alaskan Spring" slowly comes to life: Jerome wanders high as Peter Engisch gets aggressive They weave the theme in parallel, graceful and sweet. Piano keeps the rhythm, and Jerome bounces big echoes. Engisch strikes a new theme, an expansive 6/8, while guitar floats high and voices soar "Elena" is a different 6/8: nervous chorus and constant motion. Jerome hits a persistent riff as the piano twists around; the positions now switch, and Jerome yawns languid over Peter's riff. He now moves faster, with his tone harder, Engisch grows lush. It leaves with sparkle - there is something here, and not just about Elena.

This may be smooth, but it never lets you sleep. "Miles away," a fireside ballad, suddenly turns hot when Jerome gets the blues, and some Montgomery octave lines. It's gone in a moment, but it makes you take notice. Same with "Push": under wispy synth we get stinging lines and big jangles. The piano builds, full of mood; guitar answers the call, a rock solo with jazz tone. "Chocolate Amber" starts in the dark, Peter pounding the chords as Jerome bends the blues. Now listen to DeLuca; he's busier than normal and the hard beats are most welcome. Slides, darts, and an exotic chart - one of the best here, and a lovely mood piece.

"More Ways Than One" takes us to the islands - Sunny, but still dark. Silky lines trace octaves as DeLuca taps softly - Engisch hints trouble as Jerome denies it. Synthetic strings drone a lament, and Jerome picks it up: a scratch pattern turning to bright lovely notes. Now it's Peter's turn, and his tension leads to peace - the rainbow after the storm, heard as bells at the fade. "Courage of a Smile" starts like a George Winston tune - soft, classical, and very pretty. Jerome walks in, and it turns earthy: a bold acoustic with visceral ring. He's a tiny bit sad, but the piano is optimistic - the reverse of "More Ways." Gentle it is, with a sense of finality: like a fire slowly dying. But nothing dies here: the strength keeps building until it ends. Same for this album: ostensibly "light jazz," it moves, changes, and thinks up a storm. Very nice for this genre - these guys certainly have the reach.