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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.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.