Fusion Makes a Switch

Scott Cossu's latest Windham Hill production, Switchback, brings an interesting combination of Latin beat and classical instruments to a fusion style that many recent composers use all too often to create background music rather than an intense listening experience.

Switchback,

By Scott Cossu

Windham Hill Recordings, 1989

In a decade marked by the rise of yuppies and "New Age" music, it seems many composers have fallen into the trap of producing uplifting soundtracks that are pleasant to listen to but which are endlessly repetitive in their efforts to be relaxing.

Cossu's new album, Switchback, however, tries to push the path of fusion into a new direction. As the title suggests, just as mountain switchbacks take the trail back and forth to reach a certain destination, so is Cossu's music quite repetitive; it is repetitive, however, in an effort to establish a new sound. Cossu achieves a certain originality in his use of cellos and congas in creative percussion sequences.

The dominant instruments on Switchback are piano, played by Cossu, himself, and both acoustic and electric guitar, played by Van Manakas. The first piece on the album, "Desert Lightning," gives a good show of the talents of both musicians. The piece is an upbeat mix of piano, acoustic guitar, bass, flute and percussion instruments. Its tones are high and non-jarring, and the piano and guitar, while usually mixing in or keeping the rhythm in the background, are strong.

Three solos mark the originality of the piece. The guitar solo, executed by Manakas, is particularly inspiring and reminiscent of the energy of Acoustic Alchemy's 1987 release, Red Dust and Spanish Lace. The flute solo generally follows the patterns set by those of the other two instruments. This repitition, however, becomes grating, and the piece begins to sound something like the old USA Cinema theme.

The title track brings a Latin beat and jazz tempo to the album. It is similar to "Desert Lightning" in its harmonies and upbeat manner; however, the solos, particularly the flute solo, are more original and effective. Flutist Dave Valentin follows the piano solo and repeats its initial phrases; when he begins to improvise he creates a jazz sound that is not just relaxing background noise--it makes one want to listen to the musical combinations.

"Serpentine Wall" is a track which, because of Manakas' electric guitar influence, sounds at times like Dire Straits' "Making Movies." While a great deal of the piece is marked by a rolling placidity, Manakas' guitar solos make "Serpentine Wall" catchy and memorable. "Infinite Circles" follows "Serpentine Wall" with a completely different sound marked by piano and cello. Cossu and cellist Eugene Friesen, who played on the Windham Hill release, New Friend, often mimic each other in a raindrop pattern and also present some haunting harmonies.

Despite the medly of musical styles evident in Switchback's rock, blues, jazz and classical influences, the album flows remarkably well. Cossu has worked hard to create an ablum that is relaxing yet memorable, and with the presence of such talented musicians as Van Manakas and Eugene Friesen, his Switchback has a lot to offer.