Fred Frith - Susana Santos Silva: Laying Demons To Rest

It seems Portuguese trumpeter Susana Santos Silva is riding the crest of a wave, following acclaimed collaborations with the likes of saxophonists Anthony Braxton and Mats Gustafsson and pianist Kaja Draksler. It is a trajectory only likely to be reinforced by her alliance with British guitarist Fred Frith on Laying Demons To Rest. They've been playing together since at least 2018, with Silva an occasional guest with Frith's trio, as documented on Road (Intakt, 2021). But that in no way prepares for the near extrasensory communion they demonstrate on this 42-minute set recorded live at the Météo Festival in Mulhouse in 2021.

As so many electric guitarists utilize FX (it's almost more noteworthy when they don't), they have a distinct advantage over many other instrumentalists in terms of timbral diversity, having so many options to morph character, tone and attack. While there is nothing to stop others from adopting such a bag of tricks, it's generally the exception not the rule. And when you are as talented as Silva, then there's no need. She has achieved that happy confluence of technique and imagination which yields breathtaking results.

She exploits all the tools in the modern trumpeter's armory: growls, whines, drones, plosives, pants, but sets such adventurousness alongside an acute lyricism. Of course all these novel sounds by themselves don't make for satisfying listening, but thanks to the expressive human dimension she imparts through her sonic palette this session is absolutely top notch.

For his part Frith brings a storied history to bear, from his early days with Henry Cow, through Skeleton Crew and countless other downtown combos. But he does so in a remarkably selfless way, putting himself entirely at the service of the music with an uncanny sense of whether to vary, change or buttress. Frith's range seems limitless. In addition to the expected guitar derived textures, he also emulates percussion, organ chords and thumb piano, as well as noises which defy easy description. But it is the intelligence with which he deploys them which is notable.

Indeed it is the fine margins which elevate this set above so many others of similar type. Although the rarefied atmosphere of improvised music can be a particularly subjective arena, as with elite athletes it's the smallest distinctions in judgment and response times which make all the difference in terms of outcomes. Even though often the only relation between the pair seems the synchronous phrasing, pausing and recommencing as one, as in the opening when fluttering trumpet trills butt up to dull juddering thuds, the connection is palpable. Nowhere more so than when the piece ends in a sustained burst of almost melodicism, which delivers a wonderfully soothing balm after the cavalcade of quick-witted but organic evolution that has gone before. Time spent in their company is a riveting experience, a constant journey of discovery for listener and musician alike, with minimal repetition of ideas or approaches through the long form duration.

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