yeah, now that you mention it, that is probably part of the reason, though i hadn't consciously though of that before. there's actually a preciously small window where sugimoto was making work i really connected with, and while i like a lot of drumm's recent work, there's almost no improv. so this record just represents a kind of pinnacle of both of their improvising careers, in addition to being a really strong record musically that i find consistently rewarding. although the constituent elements are pretty transparent (drumm does a surprising amount of just ground hum/buzz, sugimoto doing his clean tones with occasional long feedback swells), the placement/arrangement is great, and i'm not really aware of many other records that sound much like it.jon abbey wrote:one reason Den stands out a bit is that both Drumm and Sugimoto changed directions drastically soon after that, whereas maybe some other musicians from then built on that work in the same direction, so in those cases, maybe the Kud (in order to differentiate Jesses) would be more likely to pull out their more recent work? I know I find myself playing Good Morning Good Night more than do, for instance.
anyway, just a guess...
and yes, with someone like muller or nakamura (to name two others i was digging a lot around then), i'd probably be more likely to put on something newer. though their
*duo disc*, embedded in the erstwhile box set, is another i also put on regularly. great record.
-jesse
