“Blood and Holywater” has decidedly the most “edge” of any of the four “Picasso Tunings” albums. Following “Questions of Prescience’s” mystical demeanor it erupts with aggression. The first piece, “Babi Yar”, with it’s introduction of intense screeching drone strings, pays homage to Pendereckis’ “Threnody for the Victims of Hiroshima”, while “The Crooked Road” is a twisted sometimes atonal, blues-raga, tribute of sorts to Robert Johnson’s iconic masterpiece “Crossroads”. “Blood and Holywater’s” most technically demanding piece, “Lucifer on the Daybed”, has a “bouncing bow” section that caused considerable doubts in me of ever truly mastering. Doing so changed me. The sonic explorations of “Armageddon Inc.” are reminiscent of both free jazz, and acid rock, Coltrane and Hendrix. The final little statement of black humor, “Junkie Strut”, is a “shout out” to every heroic, suicidally uncompromising musician I’ve ever known and in particular, Joe Charles (the legendary jazz drummer from Saint Louis, Missouri), who did more to help instill an absolute belief in myself as a young jazz bassist than any musician I’ve ever had the pleasure to know.