Honey And Salt (Music Inspired By The Poetry of Carl Sandburg)
Lederer reads "Prairie Barn" (which references a barn owned by a relative by marriage of Wilson's) against Thomson's American-tinged guitar and clattering wind chimes to open chapter two. "Offering and Rebuff" becomes a country love song, while "Stars, Songs, Faces" takes on an Ornette-inspired harmolodic tone. "Bringers" closes the chapter with a taste of down-home gospel. Chapter three opens with Black reading "Snatch of Sliphorn Jazz" in a cantankerous rasp while Lederer and Wilson duet a happy accident occasioned by a power outage at the studio. Bill Frisell's soft-spoken voice on "Paper 1" contrasts with Joe Lovano's hep-cat enthusiasm on its companion piece. The two are separated by Rufus Reid's throaty purr on Wilson's Beat-era throwback take on "Trafficker," and the chapter ends with the lyrical "I Sang."
Bley reads "To Know Silence Perfectly," for which Wilson made silence the vehicle for improvisation; in an approach that John Cage would have appreciated, the tune's theme is the same every time, while the length of silences vary based on the performers' whims. Finally, "Daybreak" ends the album on a celebratory note.
As always, Wilson revels in a wide variety of moods and styles throughout Honey and Salt, which takes its name from a 1963 collection of Sandburg's poetry. The title captures the delectable combination of sweetness and spice that characterizes the poet's and Wilson's work. "That's my favorite volume of his poetry and I love the title," Wilson says. "It has some collision, some rub. Music isn't all flowers and candy; it has to have some edge to it."
- Anywhere and Everywhere People
- As Wave Follows Wave
- Night Stuff
- We Must Be Polite
- Prairie Barn
- Offering and Rebuff
- Stars, Songs, Face
- Snatch of Sliphorn Jazz
- Paper 2
- Paper 1
- I Sang
- To Know Silence Perfectly
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