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Vernon Reid & Masque
"Known Unknown"
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Best known for his work with the band Living Colour, guitarist Vernon Reid, along with a team of innovative and adventurous young musicians, has created the all instrumental, musical thrill ride that is "Known Unknown". You know the sound. Reid's signature scratch-and-growl guitar opens the title track, bursting with energetic and catchy melodies. Then everything takes a sharp turn and you're not sure where you are anymore. You may be riding through the Bitches Brew improvisational freak-out of "Down And Out In Kigali And Freetown." Or you might be exploring "The Outskirts" of surf-guitar and modal jazz. Maybe you're at the quiet intersection of "Flatbush and Church" where you can take a breather and chill. Things look familiar. You hear familiar sounds, see familiar shapes and colors, but it's all coming down in a way that's new. It's exhilarating. You've arrived in the Unknown. Vernon Reid is the chief architect behind this innovative sonic landscape. Sometimes using his guitar as a paintbrush, evoking small melodic nuances, sometimes using it as a jackhammer, obliterating everything in its path, Vernon Reid is part guitar player and part visionary artist.
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05:04 |
Known Unknown
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Instrumental
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04:15 |
The Slouch
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Instrumental
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02:40 |
Brilliant Corners
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Instrumental
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05:10 |
Strange Blessing
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Instrumental
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03:50 |
Outskirts
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Instrumental
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02:54 |
Down And Out In Kigali And Freetown
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Instrumental
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02:34 |
Sidewinder
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Instrumental
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06:01 |
Voodoo Pimp Stroll
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Instrumental
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04:47 |
Time
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Instrumental
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03:46 |
Flatbush And Church
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Instrumental
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00:39 |
Ebow Underground (Excerpt)
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Instrumental
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06:03 |
X The Unknown
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Instrumental
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Vernon Reid |
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Guitar, Guitar Synth, Production, Mixing |
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Leon Gruenbaum |
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Organ, Piano, Casio, Samchillian Tip Tip Tip Cheeepeeeee |
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Hank Schroy |
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Bass |
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Marlon Browden |
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Drums |
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DJ Logic |
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Special Guest on "Voodoo Pimp Stroll" |
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Joe Johnson |
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Production, Engineering, Mixing |
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Dave McNair |
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Mastering |
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Dave Brubaker |
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Package Design |
Recorded at Studio 900, New York.
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Vol. 17, No. 2: Feb.-Mar. 2012
