Rich Ruth: Water Still Flows

Firstly, Michael Ruth goes by the name of Rich Ruth. When asked about the conversion from Michael to Rich, Ruth had a clear and simple response "I chose to go by Rich Ruth because I felt it had a more distinct ring to it and Rich is my mother's maiden name as well as my middle name." As for influences, at times it seems Ruth believes he is channeling sounds and vibrations from a higher order. When citing the inspiration for music he performed or recorded in the past, Ruth stated "I constantly experiment with sound until it reflects the way I am feeling, and attempt to sculpt something meaningful from it." As for more earth-bound influences, he has acknowledged being inspired by the meditative pieces of artists including John Coltrane and Keith Jarrett.

Ruth moved to the Nashville area years ago and sought to immerse himself in its increasingly eclectic music scene. Previous Ruth musical expeditions included time with an indie folk band, performing Americana music and opening for jam bands. Through the years, he absorbed sonic inspirations from sources as diverse as jazz, classical, death metal, Indian classical, ambient Euro music and more. He has also been influenced by what he calls "darker themes" such as the scourge of Covid, and even an armed carjacking. It may sound like a random grab bag of various influences but they coexist, nonetheless.

The seven original instrumental pieces that comprise Water Still Flows move from slow motion mood pieces—with a nod to the subtly shifting repetition of Steve Reich and Philip Glass—to free form Ornette Coleman styled sax attacks. There are also roaring guitars and piercing percussions that echo prog rock masters such as King Crimson. The album's opening track starts with a serene, dawn-like flowering wash of music followed by a more assertive piece which invites an agitated saxophonist to take center stage. The third track conjures up images of something rising from a subterranean slumber and could easily emerge from an atmospheric Avatar-like world. Suddenly, the piece abruptly terminates.

The second side opens with serene, repetitive gong-like bells before inviting a variety of instruments, including a guitar, harp, sax, synthesizer and more, to join in. The piece evolves into an agitated, blistering cacophony before its jagged conclusion. Two selections later, distant, barely audible voices drift by as the number follows the album's most minimalistic pattern only to sonically concede the spotlight to an eruption of distorted guitar sounds. The final number lets saxophonist Jared Selner, who only appears on this track, to take center stage from start to finish but a cryptic human voice has the final say as the album drifts into silence.

Throughout, Ruth has help from several artists including the main saxophonist Sam Que, and Spencer Cullum on pedal steel. As for Ruth, he is credited with guitars, synthesizers, 'sampling,' bass and percussions (along with Reuben Gingrich on drums.) The result is a kind of jam jazz rock where all of Ruth's collaborators are encouraged to add their own improvisational spirit to the project. The immersive music ultimately reveals various potent patterns yet the album thrives on presenting the unexpected and, at times, the unpredictable.

A final nod to Ruth and Jordan Williams as graphic artists since they created a striking and vibrantly colored geometric cover and then carried the look over to an insert as well as to the label of the 'dark as black tar' vinyl record (one can even search out a blood red vinyl issue as well!) It is a reminder that you may be able to capture sounds via a download but would leave behind the visual and interactive experience of an actual physical album, liner notes and all.

Comments