Gjerstad clarinets and alto saxophone
Artwork Fay Stephens
Loose Torque LT 021
Price (pounds sterling) £10.00 + p&p £1.95
I recorded this music at Colchester Arts Centre which is housed in the converted chuch of, the splendidly named St Mary At The Walls. A large space, but unfortunately, on this occasion, we didn't attract much of a congregation. Nick Stephens
This Norwegian/British quartet just lets it all loose
on this live release with only two tracks yet over an hour of pure music
(47 + 17 minutes). And the great quality of the registration allows
you to fully absorb and appreciate the spontaneous creation, as if you
were there in the audience, just with your eyes closed.
The extended tracks enable the band to stretch, reinvent,
and generate a moveable aural feast. Microtonal, asymmetrical and revolving
like a jagged loop with fractured incisions and expansive four-way dialogues,
the music also contains an abundance of dips and spikes, restarts, pauses
and thematic regenerations.
The few attendants were treated with the same unbending
principles and respect characterizing all that gets published on this
label. The querulous dissemination of anti-melodic commodities by Corbett
and Gjerstad are pure joy for initiated ears, their cleverly challenging
dialogues surely constituting the disc’s most conspicuous feature.
Nilssen-Love displays the reasons for which the settlement of a drummer
into a mere “jazz canon” equals killing any potential originality;
irrepressible fantasy and absolute control on the infinitesimal subdivisions
of a theoretical tempo strike like the bright colours of a summer beach’s
umbrellas. Stephens confirms a substantial authority as far as the lower
regions of the sonic spectrum are concerned; the sternness of his articulations
– even when he seriously hits the strings to generate ungallant
thuds – remains the source from which the whole flow of communication
starts and, ultimately, the firm ground to base everything else on.
Massimo Ricci - Touching Extremes
D’emblée, même si serré
à l’extrême, le mouvement est fluide : enchevêtrements
de clarinette et de trompette, brides rythmiques entretenues. Maintenant,
le retrait du batteur fait se libérer de nouveaux territoires.
Le mouvement initial reviendra en fin d’improvisation, sur lequel
s’ajouteront de denses figures : douceurs de clarinette et contrebasse
mêlées s’opposant aux objets frottés par le
percussionniste, solo de contrebasse inspirant à l’altiste
de longues virées en ultra-aigu (Nine Souls).