In other words, rather than dissonant voicings and metrical movement, Giardullo appears to be searching for something almost modal.
Giardullo takes the quirks and snips that Lacy provides and rather than spacing them out, breaking them or bending them (which might be the obvious choice), builds long spiraling lines that are not only more dense than one might expect, but also hit Lacy on another point of the harmonic spectrum entirely. Lacy tunes like "Prospectus and "Hurtles are starting points for an extension of Lacy's idiom somewhere into another place on the soprano spectrum, while Giardullo opens with a composition based on Monk's "Work (the title track, its namesake a piece that yielded many Lacy improvisations). No Work Today is an entirely different exercise in instrumental possibility, for it is an investigation into phrases and organization, motifs rather than pure sound. To listen to Weather, one gets a picture of Giardullo's deep-listening interests, the way a piece of a phrase can be mined for its purely sonic possibilities. No Work Today is Giardullo's homage to Steve Lacy, with whom the younger reedman played in 2004. Weather is microcosmic and rather than harping on a phrase fragment, Giardullo will take the fragment and break it into even smaller parts, delving into what makes the sound and the mechanics of the instrument create that very phrase. The title track begins with a Lacy-esque movement, though Giardullo quickly takes a detour into sharp, biting tones and multiphonics amid huge voids, sonically condensed yet spread out in a way that isn't quite like any of his straight-horn kin. Giardullo is getting into something else, as in "Channeling, taking phrase fragments that might belie historical starting points and bending them, twisting an AACM-inspired arrangement into an investigation that takes specificity as its primary ingredient, a nursery rhyme spun into lengthy harmonics. Yet Weather equally paints a picture of Giardullo that owes little to predecessors fast runs and wide vibrato might on paper belie an adherence to the post-Ayler tradition that Joe McPhee mines, while the lengthy pinched tones are a drawn-out soliloquy on Lacy at his most metallic. It is in many ways difficult to get past the precedents for a solo soprano recording Steve Lacy's Monk-with-trills and Evan Parker's breath-defying sound sculptures are an obvious reference point. Recorded during Giardullo's tenure as an artist-in-residence at Warsaw's Contemporary Arts Center, Weather features Giardullo solo at Krakow's Klub Re.
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