Ido Bukelman plays music to the march of broken beats using dis-harmonized melodies and weird structures. It’s a free style, sometimes shapeless form of music.
In the album, the dominant sound is almost entirely Ido’s acoustic guitar, usually tuned down in couple of tones, but it also features some layers of feedbacks, swirled sounds and strange squeaks, made by Bukelman’s abuse of his poor little Martin.
Bukelman’s Solo album is his debut solo recording.
By Bill Meyer, Wire:
"...Ido Bukelman is one of OutNow's founders and its most prolific artist, figuring on half of the label's six releases. His trio with electronician Daniel Davidovsky and drummer Ofer Bymal runs the gamut from fritchy-scratchy Improv to speaker-blowing axe heroics to laconic, abstract balladry.
It's thrilling, but Bukelman is even better on his own. "Solo" is totally acoustic and even more in your face.
He bridges brusque, Bailey-esque harmonics-leaping and the sort of savage,
tuning-be-damned slashing that Bill Orcutt has favoured of late. Tightly wound and fearsomely sure of itself."
“Solo” is structured like many improvised avant-garde guitar records, with uses on silence, noise, jarring disjointed or disembodied chords, etc. but Ido Bukelman has a sense of melody and rhythm that, though deconstructed to great degree, is present and underpins this set with an unexpected and sublime grace (Foxy Digitalis)
By Rainlore's World of Music 2012/07/21:
"Released in October 2011 on the adventurous Israeli OutNow label, Ido Bukelman's Solo is his debut solo recording, choosing acoustic guitar as his weapon.
Remarkably accessible, for a free improv avant-garde recording at any rate, Solo sees Bukelman exploring the sonic possibilities of both his acoustic guitar's strings and body, with the addition of some sensitive electronica on a couple of tracks. He often maintains a surprisingly melodic as well as harmonic framework, from which he then sometimes moves on into explorations of noise.
As free improv avant-garde recordings go, Solo could even be said to be among the more attractive ones. However, it may take the average listener a few good listens to really discover this. But the album is certainly compelling enough to warrant repeated playing to explore Bukelman's often fantastical, sometimes surprisingly lyrical, soundscapes, and it isn't wanting in consistency either.
Even if the avant-garde and free improv are not your usual 'cup of tea,' give Ido Bukelman's Solo a few listens at least. It may have a few surprises in store for you. Keep an open mind, treat it as a journey of discovery, and you may well end up amazed at what you find.
By EYAL HAREUVENI, Allaboutjazz, Published: November 12, 2011
Israeli guitarist Ido Bukelman has developed a highly idiosyncratic style since releasing his first solo album, City Tail (OutNow, 2009). At that time, he tended to reference saxophonist Ornette Coleman's harmolidics, guitarist Pat Metheny's clean melodic lines and guitarist Jimi Hendrix's pyrotechnics.
After working closely with Israreli sax players Albert Beger and Yoni Kertzmer, Bukelman began to focus on solo acoustic guitar, now influenced by experimental, conceptual guitarists such Derek Bailey and Bill Orcutt. These two solo recordings track his development as a mature musician and improviser.
This album was recorded in winter 2010 for the new Israeli label, OutNow Recordings. On it, Bukelman began to experiment with form, structure and above all the sound of his acoustic guitar, finding more and more sonic possibilities, not only with the strings but also with the body of the instrument. He still stuck to loose skeletal chord progressions, even in the most jangled, fretting moments, as on "Just Hold On," spreading clues about a basic melodic line that was the root of the improvisation, but strips the seven improvisations from conventional harmonic paradigms.
On other improvisations, such as "Mincing Walk" and "She's Gone," where he adds otherworldly electronic sounds, Bukelman abstracts the structure and lets his intuition lead him on. On "The World Is An Open Wound" and "The Cap's Back," and the lyrical "Take My Hand," the chaotic fretting blossoms into clear themes, even, at times, into harmonic exploration of a theme. Here, Bukelman is reminiscent of other solo guitar improvisers such as Ralph Towner or of Sonic Youth's Thurston Moore.
Full track listing:
I Call It Morning 03:44
Just Hold On 06:16
Mincing Walk 02:44
"The World Is An Open Wound" 08:30
She's Gone 03:32
The Cap's Back 05:28
Take My Hand 05:28