DAVID BAGSBY is a Cherokee musician
now residing in Kansas City.
He studied jazz under Stanley Jordan, but jazz
is only one component of his music - he is
incorporating many elements of symphonic
progressive rock, as well as acoustic/ethnical
elements, and a plethora of analytical
in-depth approach, such are Euclidean
Space and and alternative tunings.
In addition to his eclectic musical approach,
he's also involved in photography
and film making.
Bagsby stated that his goal is to became
a Rube Goldberg of Rock.
David Bagsby is a name most prog listeners
should know but probably don't, and is the kind
of musician that won't be appreciated or even
recognized for years, maybe decades.
But that's okay; he's been making great stuff for
a long time, prolifically self-releasing it through
his own Kansas-based company and guesting
on all sorts of cool projects from Ron Jarzombek's
Spastic Ink to joint efforts with friend Kurt Rongey.
A sort of postmodern mad scientist with enough
ideas & vision to fill up a lifetime, Bagsby tends
to do what Zappa might've done had he not gotten
so big, and tickles the funnybone with a neat mix
of humor and dead serious compositional journeys.
And thanks to guys like Fred Trafton over at the GEPR,
David Bagsby has been getting some much deserved
notice in Prog circles.
This, his 1999 release Transphoria, is a good starting
place for the proghead who may be understandably
wary of dropping some bucks on Bagsby's brand
of art music.
After several emails with Mr. Bagsby, I learned almost
everything here is produced on keys as on the huge,
scorching opener 'Esotericity' followed-up perfectly
with 7-minute 'AVN'.
Bagsby's work is that of a man dying to create but
barely knowing where to begin, so overwhelmed by
his own skill and muses that it's all he can do to sit
down and play it without being crushed by an
insatiable lust for all of musical history.
But somehow he gets it done, and this CD
is one of his best.
'Lyra' and 'Vista del Mars' are slow and probably
unnecessary but the New Agey title cut redeems,
dealing out killer Prog stylings evoking Keith Emerson,
Frank Zappa, and of course Raymond Scott.
Epic 14-minute 'Where Reason Stops' centers
the album around Bagsby's highly eclectic style
and brings together the full gamut of his influences
from Electronic to Fusion, New Age to Old World,
Prog to Pop, and 'Stranglefsky' ends on a bit of jazz
Fellow midwesterner Wilhelm Murg says of Bagsby,
"He creates a tightly woven schizophrenic blend of
experimental art and pop culture that developed in
isolation out here in the plains.
The images of Caruso visiting the oilfields, Bob Wills
playing Hawaiian music in the shadows of our gothic,
art deco cityscape, Gary Busey hot rodding across town
on Route 66, and Oral Roberts having visions of a 900
foot Jesus, are all summed up in Bagsby's compositions.".