Kevin Kastning likes to build guitars and then play them. Not normal six-strings, either. On this set, he plays 17-string, 18-string, 28-string and 36-string guitars (well, contraguitars and a double contraguitar). You might well wonder what the point might be. Or you might ask what's the difference between a 36-string double contraguitar and a harp?

Kevin Kastning Carl Clements Soheil Peyghambari Triple Helix (Greydisc)

The first question is easy. Kastning is able to find notes and combinations that aren't available on a "normal" guitar. And no, these decidedly unusual instruments don't sound anything like a harp. On this set, Kastning teams up with regular collaborator Carl Clements (who handles tenor, also and soprano saxophones) and pulls in Soheil Peyghambari (bass and B-flat clarinet) to round out the sound. The rich tones of Peyghambari's clarinets really hold these pieces together.

So while Kastning and Clements wander willy-nilly, Peyghambari sticks to the mortal universe, more or less. I happen to love Kastning's meanders, but I'm also self-aware enough to know that the average person would respond with a sincere "What the hell is that?" This is the first Kastning/Clements combo in some time that I think might bring in something of a more normal audience. The improvisations and musings are tied to reality just a wee bit more.

The haunting beauty of tehse pieces doesn't hurt, either. There's a fragile strength in the unorthodox expression of this trio, and that's just enough to keep this highly-combustible trio locked into its program. Improvised music is rarely this gorgeous. Quite a wonder.

Jon Worley