Funkwrench Blues - Soundtrack For A Film Without Pictures

In his wide-ranging career, bassist, guitarist, arranger, composer, producer, and engineer Frank Swart has contributed to countless sessions covering a wide range of music, from rock and funk to psychedelic acid jazz. In recent times, under the Funkwrench Blues name, he has created and produced 146 singles (at the time of this writing) that have been released once every two weeks, featuring such major artists as Mike Stern, Charlie Hunter, John Medeski, Oz Noy, Fred Wesley, and the late Lucky Peterson. In addition, he has co-produced an extensive series of Folk/Americana seven-inch vinyl singles. Even with all of this activity, with the encouragement of his studio partner Brian Brinkerhoff, Swart decided to "follow his bliss" and make an adventurous modal jazz album.

“I always think about music in a cinematic way. Once we had amassed a full body of work, it was obvious to me that this was a soundtrack to a film without pictures; everything fit together. The pieces did not have permanent titles so I loosely nicked titles from Joseph Campbell’s Monomyth. The story starts with the character having an unremarkable lifestyle but then being called upon to experience a life-changing adventure and win an important battle before finally returning to share what he learned.”

The intriguing Soundtrack to A Film Without Pictures begins with the electronic groove of “The Life” which then bursts into a full funkfest, featuring Swart’s bass and guitar playing and Mars Volta's Thomas Pridgen’s virtuosic drumming, setting the introductory scene. Altoist Gary Bartz is featured on “The Call,” soaring above the rolling pensive background that is inspired by the jazz-rock fusion of the 1970s. Evan Hatfield’s sitar and Christopher Hoffman's cello create a discordant conversation on “The Refusal” which also features the crisp drumming of Whitefield Brothers' drummer/producer, Max Weissenfeldt. “The Meeting” includes a repetitive and forceful rhythm riff, admittedly inspired by Miles Davis’ Jack Johnson/Bitches Brew period, behind the fiery playing of the Fringe’s George Garzone on soprano. Warren Wolf’s vibes and Swart’s wah-wah effects and chordal bass co-star in ⅞ time on "The Crossing” while “The Test” has a Charles Mingus-ish theme played by a horn section that is worthy of a dramatic detective television show, including Chris West doing his best Eric Dolphy on bass clarinet.

The second half of the program begins with Bill Evans’ soprano showcased on the aggressive blues of “The Approach.” Idris Ackamoor’s tenor gives “The Ordeal” the anguish it needs including its nod to Mongo Santamaria’s "Afro Blue" in its closing. The thoughtful “The Reward,” features the emotionally rich contributions of cellist Mai Bloomfield and John Deaderick’s keyboard playing. “That track was inspired by Andrew Hill’s 'Illusion - Alternate Take'," Swart enthusiastically proclaims. “The Road Back” has jubilant ensembles, an eccentric and relentless groove, and passionate playing from Dave Liebman on soprano. “The Resurrection” is one of several pieces that feature fine contributions from Swart’s old friend and Junk/post junk trio bandmate saxophonist/flautist David “DR” Robbins, who co-wrote this piece along with “The Life”; Mike Clark’s juxtaposing swing and funk sections and the leader’s guitar are also important parts of the dynamic ensemble. The final section, “The Return,” is more peaceful and has Frank Swart’s bass featured along with Christopher Hoffman’s cello. As with any movie score, Soundtrack To A Film Without Pictures concludes with "The Credits."

It reimagines the electronic groove that introduced the album and then dissolves into a landscape of free sound consisting of Swart’s bowing and drumming, Hoffman this time on electric cello, and Robbins on flute.

Frank Swart remembers, “Because I had a clear sonic vision of what I wanted on this project, I did all of the bass and guitar work myself. After recording my parts, I was fortunate enough to get many of my favorite drummers including Derrek Phillips, Scott Amendola, Thomas Pridgen, Simone Pannozzo, Max Weissenfeldt, Mike Clark and a few others, telling them to simply be themselves. Due to the pandemic, many musicians who had previously been very busy were suddenly available, so I reached out to special guests who were featured on sections of the album.” Those include such greats as saxophonists Gary Bartz, George Garzone, Dave Liebman, and Bill Evans, and vibraphonist Warren Wolf.