Bass and flute represent significant tonal contrasts and here, flutist Jerome Bourdellon and world-renowned bassist, composer and improviser Joelle Leandre divulge innumerable perspectives and quite a bit of food for thought on these duets. However, Bourdellon employs bass clarinet and bass flute on two tracks, as no other instruments are nestled into the mid-sections of the program and the artists follow similar modalities to complement and support each other.
Each piece presents a different viewpoint, largely immersed in call and response mechanisms that incite additional mini-themes and an aggregation of twirling excursions or impressionistic counter-maneuvers. These facets shine on "Evidence II," where Bourdellon uses the C flute atop Leandre's flickering arco notes that embed a vibe, toggling between soaring intensity and pensive musings. The flutist covers a mammoth force field via his coarse phrasings, breathy interludes, and charming undertones. Nonetheless, the musicians' active listening and witty use of counterpoint equates to a harmonious communion. They maximize their capabilities and conjure several rhythmic parallels, offset by cyclonic activities and understated classical music inferences. The musicians elevate what could have been little more than a novelty, to a serious lesson in the art of improvisation; hence, the evidence lies within.
Personnel: Joelle Leandre: contrabass; Jerome Bourdellon: C flute.
The first jazz record I bought was Bill Evans' Sunday at the Village Vanguard. When I was in high school, I somehow stumbled
across the track My Man's Gone Now and was instantly transfixed. It was the most beautiful thing I'd ever heard. So I saved up
(times were hard for a teenager back then) and went out and bought the album.
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