On one movement of his suite Twenty Quarter-Inch Jacks, Tim Brady name-cecks an almost-complete alphabet of influences that ranges from obvious choices like Bill Frisell and Jimi Hendrix to unusaal pickers like Mike Nesmith. That list tells you everything you need to know about bath Brady’s love of guitar and his eclecticism. Those twin loves characterize his music, which is full of sweeping waves of sound, jump-cut juxtapositions and sudden transitions to exquisite guitarplaying.
The title suite is a guitarist’s fantasy— composed for 20 players, but performed here solely by Brady. Over its half-hour length he explores the sonic possibilities of 120 vibrating strings and no small amount of feedback. Ranging from the ringing waves of Harmonic Fields to the fuzzed-out crunch of the aptly named Metal the piece is richly textured and intriguing, like a huge maze of sound caves. Music Box Bell Curves (Hello Paris!) has all the earmarks of a Brady composition, but the disparate tonal episodes and bursts of noisy dissonance don’t hang together as well as they might. A second piece for solo guitar and tape — an eight-minute excerpt from his composition Public space/private music — is more succesfull as a sonic streetscape.