Manu Delago & Max ZT: Deuce

It seems Manu Delago was always destined to be a musician.  Although his first instruments of choice included piano and accordion, he found himself drawn to rock drumming by the time he moved into his teenage years.  The goal of mastering various percussion instruments has been his passion, but he has methodically drifted toward jazz and world music.  One of the instruments he focused on is the hanga, a sort of metallic steel drum (basically two domed 'handpans' merged together). It is relatively small and traditionally played while seated.  When played by Delago, the results are often pensive and personal and an ocean away from the festive celebrations most often associated with more elaborate Caribbean steels.  Intending to keep Deuce as intimate as possible, Delago teamed with a single musician, the accomplished hammered dulcimer artist Max ZT.  In the past, Max ZT had partnered with musicians from various cultures, including artists from India, Senegal and beyond, absorbing much of what he heard.  Chicago-born and now Brooklyn based, he has charted his own career path that includes participating in a 2024 album that was Grammy nominated for Best Contemporary Instrumental. 

For Delgado's 2026 Deuce album, this Austria-born and based musician and his partner journeyed into the past to record at a monastery nestled in a valley near the Austrian Alps.  Founded in 1273, it is still an active cultural center that is revered for its spiritual ambiance as "a place of peace and contemplation." In addition, it is surrounded by an idyllic and inspirational oak forest. The results—both musically and geographically—meld original compositions with improvisations to create an ethereal musical palette.  Although Max ZT referred to some of his music as "medicine and meditation," it is also a fitting clue as to what you will hear and experience throughout this collection.                                      

Sonically, the entire album has pristine clarity from start to finish. The results are superior pieces that subtly reference various cultures.  When you choose to limit the recording session to a mere two musicians, you limit the musical palette you can draw from.  On the other hand, it allows for the close one-on-one interaction to blossom organically.  The duo makes a delicate, pensive entrance as if two close friends are communicating via an isolated walk in the woods.  The initial sounds are serene, subtle and intimate.  The second cut sparkles like a modern Christmas carol, while the following few selections flow together like a delicate tone poem but with an occasional flurry of brisk activity to keep the listener alert and engaged.  Although they deliberately limit their instruments to two, the duo creates alluring sounds, and it almost seems like other instruments, such as piano or other percussion instruments, have joined in. 

The second side of the vinyl opens with an energized, active track as the energy level shifts.  That segues into the second selection, which maintains a rapid pace and conjures up more world music sounds that hint at a far eastern sitar.  "Exhale" is the album's closing track.  It is understated and quietly escorts the listener to a final resting place of tranquility Delago says: " The church bells were ringing and echoing in the valley throughout the session. If you listen closely to "Exhale," you can hear the bells at the end of the track."

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