|"I wrote christangelfox for specific musicians playing, at times, particular instruments, in this case small percussion arrays, each with four pieces of scrap metal, four pieces of stone, and four pieces of wood, all floating freely on open-cell foam slabs. Guillermo Gregorio played on the CD that preceded this one, Matt Turner has appeared on more of my ensemble recordings than anyone else, save myself. For christangelfox, I wanted musicians such as these, who make unusually beautiful sounds and who work well with space. These attributes were especially important because I intended christangelfox to be so simple that it would reveal the performer’s essential character.
"The entire hour-long composition is based on a single scale. The music is influenced, although not formally, by the musics of several Asia cultures. The percussion, in particular, reflects Javanese gamelan, Chinese opera, and Japanese Buddhist temple music. At times the classical guitar is meant to be koto-like, the clarinet shakuhachi-like, and the cello erhu-like. These references are, however, intentionally faint. Few time signature changes appear, and then just to extend the occasional phrase. The musicians stick to one instrument each, plus the percussion arrays. The detail is in the sound of the instruments..."
-from the liner notes
Three musicians gather to make music. Each plays an instrument and percussion that comes in a set of four. Their percussion comprises scrap metal, stone, and wood, all of which float on foam slabs. They begin and then go on for the next hour playing the composition of Scott Fields.
The music on Christangelfox is influenced by Asian cultures, but as Fields notes in the liner notes, that intention is not formal. But it does give a pith and air to the process, whether it be in the loop and swell of the cello from Matt Turner or the cry and plea that emanates from the clarinet of Guillermo Gregorio. And Fields lets his guitar lilt on a classical progression or lets the notes thrill to a flamenco rhythm to lend a different dimension.
There is plenty of interaction and conversation. The devolution takes some nice turns and twists, even if much of it is essayed in an equable atmosphere. But it is in this environ that they thrive and give vent to their imaginations. There are moments, though, when they ruffle the calm, and while it is just a passing thought, it does bring in a likeable ruffle. One of them comes around the 26th minute, when the metal and the wood percussion gets into an animated discussion while Gregorio curls, twists and blows breathy notes. In tandem they create one of the more breathtaking moments on the record.