All Ones new album Bloom is..........
100% organic music created by a trio of keyboards, bass, and drums. no samples, no songs written in advance, no overdubs - just music captured as it grows naturally in the studio.
This is not free form music in the traditional sense - but the chemistry of three musicians creating spontaneous form and structure without regard for genres and conventions.
While comparisons with other contemporary jazz influenced trios (or post-rock collectives) might seem obvious, don't be mislead by that either.
All Ones' studio is home to one of the largest working collections of Antique & Vintage keyboards in the country. 100 Year old acoustic instruments sit next to mechanical electro-acoustic pianos, organs, and some of the earliest pre-digital synthesizers.
Individually, the members of All Ones have played with a wide range of musicians.
Percussionist David Brandt has been active in the new music/imrov/post-rock scenes in New York City and the San Francisco Bay Area for many years. Among his most interesting adventures was a European tour with the Kologbo Afrobeat Academy (Oghene Kologbo was the defintive tenor guitarist in Fela Kuti's Africa 70 band), performances with Conduction maestro Butch Morris' New York Skyscraper and with The Transcendentalists at New York's Vision Festival.
Bassist Ned Doherty has served his time in all kinds of San Francisco Bay Area bands - including tours with Avengers front woman Penelope Houston, Carmaig de Forest as well as studio experiences with Gordon Gano of the Violent Femmes, Will Rigby of the DB's and others.
When keyboardist Matt Henry Cunitz isn't repairing and restoring vintage keyboards (his day job) for a client list that runs from Grandmas to Grammy-winners, then he's likely to be found performing in recording studios or on stage with friends ALO, Ralph Carney, Josh Joplin, John Vanderslice, Jolie Holland, and numerous other bay area artists.
More info can be found on their web page:
Review by Richie Unterberger ~ All Music
And author of the fantastic book:
The Unreleased Beatles Music & Film (Backbeat Books)
Soulful art-rock might seem like something of a contradiction in terms, but All Ones come close to delivering such a proposition on Bloom. As the sleeve notes, the album "contains a collection of spontaneous compositions performed and recorded live in our studio," though the recording has a fine sonic clarity and balance. Nearly entirely instrumental, these 14 improvisations are in an electronic keyboard-dominated, progressive rock-oriented bag that covers much of the territory between Booker T. & the MG's and Soft Machine. If that sounds like an odd combination, All Ones get closer to mixing those elements than you might think, in part due to the funky interplay of bassist Ned Doherty and drummer David Brandt. The key ingredient, however, is the assortment of keyboards deployed by Matt Cunitz, who handles no less than seven such instruments on the CD, including Hammond C3 (which power the most Booker T.-like instros, natch), clavinet, Acetone, and Rhodes models. As a consequence, All Ones can at different times sound like a Southern soul organ combo with a somewhat freakier inclination than, say, Hi Records' rhythm sections, or (especially on the cuts with buzzing and stuttering keyboard tones) a modern, less pretentious variation on the jazz-rock fusion of '70s British prog-rock outfits. At other times, the keyboards approach an early Pink Floyd mood, though without as song-based material. The arsenal of different keyboard textures ensures that this has more diversity than many such instrumental records, but the variety of song structures and riffs helps too, careening from funky grooves to more spacier, reflective passages. It's a recommended listen for those looking for early-twenty-first-century art rock that doesn't sound like stale rehash of the form's glory days. ~ Ritchie Unterberger - All Music
Review by Jeff Penczak, Foxy Digitalis:
This San Francisco trio is a sort of Mushroom side project, with that wonderful prog/psych/jazz band’s vintage keyboardist Matt Henry Cunitz and bassist Ned Doherty getting together with drummer David Brandt to deliver 14 snappy, instrumental groovefests (“a collection of spontaneous compositions performed & recorded live in our studio”) that’ll have your heart fluttering and your feet shuffling for days to come. The Mushroom pedigree is apparent right from the get-go on the opening groover, “Avenue of the Giants,” which rides Cunitz’ organ grinding solos across the vast krautrocking universe populated with the likes of Kraftwerk, Neu! and Tangerine Dream. “The Recliner” is just that – a funky, laidback cocktail lounging groover with nods to Booker T. and Al Kooper’s “Super Session” with Mike Bloomfield and Stephen Stills. I also heard a nasty “Green Onions”-ish riff grabbing hold of “Glue Avenue Doherty’s big fast bass swallows everything in its path, including Cunitz’ gurgling keyboards on the loopy, happy foot dance party “Suspension of Belief” and his looping, loping, repetitive riff on “The Riptide,” coupled with Brandt’s heart pounding tympanis and Cunitz’ sputtering fills, it’s time for a big band groove like Gene Krupa or Buddy Rich steamrolling into town.
The trio get jiggy with it on “Car Tune Breakdown,” which, besides demonstrating their sense of humor and fondness for punny titles, gives us a full-throttled jazzy assault riding the wave of Cunitz’ playful melody. “Gyroscopic” illustrates their more rocking side, with a throbbing bass meeting Crimsonesque keyboards and “Shhh…snow” is a short bopping, Sunday afternoon stroll through the park. “First Bloom” takes the basic riff from Tom Petty’s “Breakdown” and twists it into a labyrinthine bowl of spaghetti, then throws in a few of Ray Manzarek’s “Rider On The Storm” riffs for good measure.
A lovely surprise and a pure delight from start to finish! The music world needs more fun-loving, no-holds-barred jam sessions like this. 8/10 -- Jeff Penczak (18 December, 2006)