Enos Slaughter - Live at the Philadelphia Record Exchange EP CDR
(Tequila Sunrise)
A limited CDR release recorded during a live performance at the Philadelphia Record Exchange, this EP is just long enough to offer a brief glimpse of what Marc Orleans (Sunburned Hand of the Man), David Shuford (No Neck Blues Band/Suntanama), and Carter Thornton (Izititiz) have to offer. With the wind credited as special guest, it's a safe bet to note that there are inherent flaws (if you want to call them that) to be expected in a live recording of this kind, but these unique touches only serve to remind of the transitory nature of performance in general, that any document of this kind can only serve as an artifact instead of a total statement. While perhaps not a necessary addition to every collection, there is definitely some merit to this inventive trio's latest release.
Opening with individual notes picked on a banjo, "Greens" employs a cautious improv approach, as if searching the walls of a darkened room for the light switch. A guitar joins in but does little to distract from the bright pluck of the banjo as it picks up the pace, steadily increasing tempo and complexity while altering the melody slightly. Eventually the song ambles to a conclusion with an appropriate fade, followed by brisk applause. The second song, "Floor Child," begins with heavy slide on the dobro as background clangs and rattles tamper in the regions just beyond the musical forefront. Some dexterous fingerpicking alternates with moments of exaggerated sliding to keep the listener guessing, as the other accompanists initially offer little incentive for redirecting the ears. The guitar takes the lead and sustains a sharp momentum before returning to the slide noodling from the beginning of the tune and slowly bringing the song to a close.
The live EP ends with "The Best Not Solo Solo," kicking off with banjo and mandolin (or maybe bouzuki) dueling in the high-ends for string supremacy before a more relaxed approach prevails. The two instruments ring together before abandoning picks for plucks. Given the abrupt ending, it can be assumed that this is an edit of a longer piece highlighting this section of playing, but instead of desiring context, the finale is a fitting one, leaving the listener to wonder what the next Enos Slaughter full-length might sound like.
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