Reviews

THE WIRE - New Year 2000 issue
Neil Sadler - Theory of Forms
Bleeding Arts BA10012 CD

A horn section comprising the Fowler
brothers, Albert Wing and Kurt McGettrick,
plus high profile guitarist Mike Keneally
equals instant cult status among Zappa
aficionados, but Sadler's music merits more
widespread attention. His complex, oblique
scores generate vigorous, purposeful music,
architectonically rugged yet sufficiently
pliable to offer surprising twists and turns.
Sadler's keyboard work adds Gothic
flourishes of the kind that Don Preston has
supplied for Michael Mantler. A conceptually
mature and brilliantly executed amalgam.

Displayed by kind permission of 'The Wire' Magazine

EXPOSÉ Magazine
Neil Sadler - "Theory of Forms"
(Bleeding Arts BA10012, 1999, CD)
Theory of Forms is a high-energy blast of horn-powered energy almost from start to finish. Sadler is an accomplished composer, keyboardist and percussionist and he's recruited a crew of Zappa alumni to realize his tightly arranged musical vision. Most prominent is guitarist Mike Keneally, whose inventive playing shines on every track. Other than the obvious link in personel, though, the Zappa connection is irrelevant. This is electric jazz that simply kicks butt in complicated ways. In the midst of the tricky rhythmic arrangements, there's a lot of improvisation. The opening cut, "Jazz Bastards," features a great solo from trombonist Bruce Fowler and some wild Keneally guitar work. The second starts with some eerie string synth, and works into a disjointed improv session with both muted and straight trumpet from Walt Fowler over a stuttery groove. These first two cuts illustrate the opposing poles of the album: insanely complex horn and guitar arrangements on the one hand, flowing improvisations on the other. This recording packs the energy of early electric jazz classics by Mahavishnu Orchestra, Return to Forever and the rest, but manages a style all its own. Sadler's compositions are complex without being freakish, and he uses advanced techniques like bitonality and rhythmic cycles fluently. Casual listening may ellicit a response like, "That sounds interesting - I wonder what's going on." Further study (or checking the website) reveals some of the technicalities for those interested.

Displayed by kind permission of 'Exposé' Magazine



'FUSE' Magazine review

NEIL SADLER - "Theory Of Forms" (Bleeding Arts BA10012)

Now this is surprisingly different. First off, you must put yourself in a Frank Zappa frame of mind (if that's possible). English born composer, keyboardist / percussionist Neil Sadler has created the quintessential fusion release, combining rock, Latin, funk, jazz, big band and orchestral styles with very complex harmonies and rhythmic changes. In keeping with the Zappa tradition, many of the players on this release are Zappa alumni including the horn section of Walt (trumpet, flugelhorn), Bruce (trombone) and Steve (alto sax) Fowler, Albert Wing (tenor sax), Kurt McGettrick (tenor sax) along with guitarist Mike Keneally and bassist Bryan Beller, all from the Zappa family tree. You've really got to have a versatile musical appetite to enjoy the twisting arrangements and sharp turns that the composition takes at a moments notice. Guitarist Keneally is the featured soloist on many of the tracks and it's interesting to hear where he takes the music, at times it's as if he's hanging on for dear life. The horn arrangements are superb, very well thought out and executed to perfection. Zappa would be very proud of his students and the compositional skills of Sadler. Sadler's keyboard and percussion skills are noteworthy as well. - MH *************************************************
FUSE magazine http://www.fusemag.com/



BASS PLAYER MAGAZINE RECOMMENDS - April 1999:

Bassists: Bryan Beller, Joel Woods Instruments: Beller, Fender Jazz Deluxe V, Tobias Classic 5-string: Woods, Tobias Classic 6-string
"Somewhere between post-Zappa jazz-rock and serial music. Keyboardist Sadler and guitarist Mike Keneally offer dense, challenging lead parts, while Beller and Woods wrap their angular lines around the tunes like a caduceus." - Karl Coryat



Studio Notes - Summer 1999:

"the thrill of hearing the famed horns from Zappa's "Make A Jazz Noise Here" executing 'impossible' charts along with former FZ 'stunt guitarist' Mike Keneally is equaled only by the discovery of this unique compositional voice - Neil Sadler"






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