Dusan Jevtovic is one of those guitarists, who totally feels comfortable in a recording studio, surrounded by top musicians from the jazz rock and fusion scene, creating the most wonderful music under a fair amount of pressure. If You See Me is an almost pure live in the studio recording, where he was accompanied by King Crimson and now also Devin Townsend alumni Marcus Reuter on touch guitars and live looping, Gary Husband, who made a name playing with the best of the best, like Allan Holdsworth and rising star bass player Bernat Hernandez. In the studio, Aleksandar Petrov's tapan, a Macedonia traditional drum, was added, giving the overall sound a touch of Balkan.
Often, when you listen to one of these 'spontaneous' jam recordings, their main musician ends up in freaky parts, which sometimes have the likes of distorted tuning your guitar rather than producing fine melodies and solos. I guess Dusan could record such an endless soundscape and leave you flabbergasted in your musical confusion. But none of this, during these sessions in 2017. Sure weird noises all over the place, but they seem to be controlled. At least, that is what I hear. Nice compositions, leaving the individual instrumentalists enough space to excel on their instrument, but in the meantime always serving the song. Listen to Babe (Grannies), where King Crimson seems to watch over Dusan, who is interacting with Reuter's touch guitar, approving the way he pays tribute to this band. On the other hand, the title track If You See Me is a kaleidoscope of guitar sounds embedded in a dense atmospheric journey, with a fine grooving backbone. Take the cinematic Once Ocho, where the adventurous guitar creates the atmosphere of an Italian western embedded in a film noir.
If You See Me is the result of mixing cultures, spheres and moods, more than just aiming for an instrumental jazz rock record. Sure, fusion fans will love the album, but there is so much more to discover on Dusan's musical journey. If You See Me? I see and hear you and I am loving it!
****+ Pedro Bekkers (edited by Tracy van Os van den Abeelen)
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