This is his third classic and acoustic guitar oriented album. Mostly there are only guitars! It is a very mellow and peaceful album. The ensemble is not very rhythmic, and the speed involved is often low, so that one can appreciate each note played. I do not think it is very accessible. Here again, you can constantly hear Phillips' fingers rub the strings, which may be annoying for some. Some tracks have an increased notes flow, while others have many pauses. The best track is the one with the special guest guitarist Enrique Barro Garcia: he plays a bluesy ethereal electric guitar while Phillips plays a rhythmic acoustic guitar note by note. Phillips uses sometimes a good 12-string acoustic guitar.
As a first, this time around the individual tracks go less by titles than by explanatory cues, for in the first, “Bridging,” we find connections already being made between disparate continents. Its guitar-like exuberance and melodic percussion (courtesy of Alain Joule) skirt arco territories toward stillness. “The Flow” brings about a sense of fluidity through electronic whispers, Joule’s vivid comments accentuating the bass’s inner core and painting its outer skin with observations. Phillips elicits a range of avian effects, from twittering concealed in foliage to lanky elegance of cranes and waterfowl, both hunting and in the rapture of a mating dance. “Ripples Edge” does indeed trace the water’s rim with its opening harmonics and navigates surface tensions like a water skater.
Private Parts and Pieces III: Antiques is an album by Anthony Phillips, released in 1982. The album is a collaboration with Enrique Berro Garcia.
End to End is a solo bass album by one of the great pioneers of the idiom. Over the last fifty years Barre Phillips, California-born but long a resident of France, has periodically issued solo recordings, considering them the musical equivalent of diary entries (the first one, in 1968, was called Journal violone), updates on his ever-evolving relationship to his chosen instrument. This one, he says, will be the last of his albums in this format, so it is of special interest to those who have followed the story so far and, indeed, to anyone wishing to hear a masterful improviser at work, refocussing lessons learned in the course of a long, creative life. “It’s the end of a cycle,” says Barre, now 83, of the present recording. “Not a summing up, but the last pages of a journal that began fifty years ago.”