snobb Tim Berne's Snakeoil was first released as his ECM debut,"You've Been Watching Me" is third band's album (all - on ECM) and first where line-up was improved with guitarist Ryan Ferreira. I know that some old Berne's fans were seriously disappointed with his ECM deal and music recorded on this label. Comparing with Berne's early avant-rock chaotic energy, his new music sounded too polished or even conformist for them.Here on third Snakeoil album adding young and generally explosive guitarist will disappoint them again - it's still obvious Snakeoil,not Berne's previous years Bloodcount with Marc Ducret.

Produced by David Torn,"You've Been Watching Me" still contains lot of rock aesthetics,more prog than brutal avant-rock though. With Snakeoil Berne from rebelling alternative jazz idol turned to mature composer still using same techniques and methods. His music now sound less scratchy and noisy, but the tension and his way of thinking are both transformed to multilayered and knotty constructions,sometimes even with obvious academic music influence.

Of all three Berne's ECM albums,this one is most collective work without obvious leader. Ferreira guitar's addition is more liquid and very controlled in quantity. As both previous Snakeoil works this one isn't easy listening even if it contains some modern rock elements.

Surprisingly,I've been a bit disappointed with sound quality,usual ECM strong side. Sound is clear and well-balanced, but somehow compressed to the level almost killing its all vitality - huge disadvantage for such kind of music.

Great album if you liked two previous Snakeoil releases, not all that much different if you didn't.

snobb Composer and sax player Tim Berne music was never an easy listening, "Shadow Man",his second album for ECM is even less so.

Known for decades as one of leaders of contemporary New York avant-garde jazz, Berne was known by his explosive and noisy recordings with electric band first of all. When in 2012 he released his first ever album for ECM, some his old fans decided that he's selling out (my old friend,originally physical engineer,but who lives organizing jazz concerts and running jazz label for years said that year he's not interested in Tim Berne's music anymore). Were they right? I don't think so.

Even on Berne's first ECM album,"Snakeoil",he demonstrated new concept,combining unusual for him fully acoustic quartet's music with crisp ECM sound. Second album,released an year after, "Shadow Man" is recorded by same acoustic quartet, this time in New York with assistance of Berne's one-time collaborator David Torn. Both albums are studio-recorded under well-known ECM attention to sound quality and details.And them both perfectly show the other side of Berne's music - great composer and almost pedantic studio musician. Comparing with ECM debut, "Shadow Man" is more matured,deeper - and being seriously pre-composed - freer. It's obvious that all quartet feel more comfortable in their new music, which is quirky,complex,multi-layered and beautiful at the same time.

More than 70 minutes long, this album doesn't sound like such. Even experienced listener will hardly separate where composed is changed with improvised and vise versa. Never Berne's music has been recorded with such attention to smaller details, and at the same time it didn't become too bloodless or mannerist,not at all. Even more - besides of five Berne's originals there is one Paul Motian song - "Psalm", full of sensitiveness and beauty,which was hardly imaginable on Berne's albums from previous decades.

Most probably the formula of success lays on original combination of Berne's NY avant-garde jazz tradition and ECM studio excellence,leaving European chamber jazz influence (which makes many ECM releases so face-off) aside.

This album with no doubt requires repeating listening and with every spin opens more and more new sides. One among few current time jazz albums,looking not in the past but towards advanced jazz future.

The Truth It is very hard to deny that this album has a massive aura of an epic-like quality surrounding it. Open, Coma was my second Tim Berne album and probably my favorite, I just love how the man plays he ranges from smooth jazz at times to screeching Zorn-esque stuff. I guess it's the variety that I love.

Each track is basically the same thing, a long improvised piece which never fails to amaze. I'm no improvisor when it comes to playing music and my mediocre skills always make my mouth gape when I see what jazz musicians can do improvising. This is one of those albums that does that. One word to describe this album: mind blowing.

I'd give it five stars but the length of it certainly wouldn't appeal to everyone. Try out Insomnia first to get a taste of Mr. Berne.

snobb Tim Berne's debut on Portuguese Clean Feed label contains material,recorded 14 years ago. Recorded live in studio, these tapes were never released before.

I am familiar with big part of Berne's discography and have a mixed feeling towards his music. First of all he is skilled musician and improviser and almost every his recording contains some experimentation.He collaborates with leading avant-garde jazz musicians so his music is always of high quality. But at the same time (even if I really like many of his moments) I often felt like being interesting his music lucks some small magic to be really great.

This album is one between his better jobs for me - being a bit sharper and with bigger attention to emotional field and not technical complexity this release makes one step towards listener.

Just two long compositions presented on this album are not all unheard. "Open,Coma" was released still in 2001 on the album of the same name,recorded by Tim in Scandinavia with Copenhagen Art Ensemble. But the version, presented on Insomnia is seriously different and I like it much more.

All collaborators team,participated on recording of this album, is really great. Excellent French guiatrist Marc Ducret unusually for him plays acoustic 12-strings guitar here. Together with violinist Dominique Pifarély and NY downtown cellist Erik Friedlander (well known by his collaboration with John Zorn)build strong stings-based sound,based on complex improvs more than on just orchestration though.

Being still far not easy accessible this release has a bit more soul in it and makes Berne's music even better.