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Here, two prominent and well-traveled Swiss improvisers, Markus Eichenberger (clarinets) and Daniel Studer (double bass) align their imaginations by exploring minimalist and microtonal trajectories while using space as an additive. Moreover, the duo attains synergy via largely, restrained dialogues. The musicians' delicate approach intimates the power of suggestion, where they can lull you into a trance or raise the pitch on pieces that may also intimate self-analyzation processes vis terse exchanges. As deft expressionism enacted with choice notes play a major part in the duo's chemistry.
The musicians' rather humble articulations are often used as sound-sculpting mechanisms. But they occasionally up the ante by injecting dashes of angst, where Studer mimics Eichenberger with creaky and rough-hewn arco-lines. Indeed, they demonstrate their ability to second-guess each other's next move, regardless of tempo or momentum.
At times, Studer mixes up his attack with staccato phrasings and poignant undercurrents as Eichenberger launches blustery choruses and succinctly enacted whimsical statements. And on the program's lengthiest track (10:56) "Listening Sideways," the artists move forward with stunted progressions amid a stoic musical climate. Nonetheless, they delve into stark vistas, spiced with ample breathing room to execute a quietly penetrating modus operandi along with an aggregation of dips and spikes.
On "Aiming Anew," they incorporate gruff exchanges with climactic mini-motifs, heightened by Studer's resonating delivery that morphs into a question and answer type series of developments with his partner's angular free-jazz gait. Overall, it's an endeavor linked with bursts of firepower and ever-so-subtle musings to instill a variety of unlikely contrasts and highly experimental discourses.
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab. My late great pa-in-law--the actor Keith Michell--wins the contest hands down however, as he co-starred in the 1962 movie All Night Long rubbing shoulders with Dave Brubeck, Keith Christie, Bert Courtley, John Dankworth, Ray Dempsey, Allan Ganley, Tubby Hayes, Charles Mingus, Barry Morgan, Kenny Napper, Colin Purbrook and John Scott! Wish I could have been a fly on the wall of that soundstage!
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