There is no need to read their bios to hear that these are two friends who have been working and playing together for a good while (nearly a decade at the time of this recording). For a start, the mere fact of playing as a duo inevitably puts any pair's chemistry right out in the open; while there are plenty of players good enough to communicate and improvise as smoothly as Morten McCoy and Jonathan Bremer do, their easy-going rapport is one that can only come from both fine skill and long history. This session rests on that natural chemistry to beautiful effect. It is the late-night banter of friends familiar enough to just open up and ramble however they want.
That particular mood is front and center on Natten ("The Night"). The sound of Bremer/McCoy is more settled than ever on their third release, and yet more exploratory than before at the same time. Their dialogue here is one for the wee hours that is still engaging rather than sleepy. The pair first began by playing dub, as it happens, and so it is no surprise that they share a similar grounding in groove. McCoy drifts between piano and electric organ, equally light-fingered and contemplative on each. Likewise, Bremer's bass lines stay both supple and precise, however airy the melodies tend to get.
The pieces are sketched out with some deliberation (most meant to evoke particular emotions or experiences), then performed with very little preparation. The two simply feel out the shape of each one, wandering freely and always trusting each other to wander back together without getting lost. McCoy states that Natten was intended to be created this way in the moment, just by staying open to the moment in "pure gratitude for simply being." The result is calming and comforting enough for anyone who is happy to float along.
Natten; Mit Kjerte; Gratitude; Hjertebarn; Nu og Altid; April; Aurora; Nova; Måneskin; Natten (part