Andrew Raffo Dewar

One of the mainstays of the Bay area improv scene, percussionist and electronics adapter Gino Robair is usually involved in multiple, simultaneous projects. Take these sessions for example. While each demonstrates his refined textural control in the creative music sphere, one lists towards Free Jazz, one towards electronica and the third to notated New music.

Most easily defined is The Shrilling of Frogs, where Robair, exclusively as a percussionist, is part of a power trio with Austrian alto saxophonist/bass clarinetist Tanja Feichtmair, who has played with the likes of Roger Turner and Irene Kepl, and peripatetic bassist Damon Smith, who like the percussionist has worked with countless improvisers in North America and Europe. Firmly in the Free Jazz lineage, Feichtmair’s usual approach on  both her instruments is full out. Tracks such as “A First Decision” and “Carpets on the Barren Land” show her skill in producing bitten-off reed snarls and coiling tones, plus on the  second, harsh buzzing flattement, where her mercurial saxophone split tone sometimes descend into the tenor saxophone range. Rumbling pops and strums from the bassist and the drummer’s cymbal and chain rattles plus press rolls keep the progress horizontal. At the same time trio interaction is supple enough so that among the sonic landscape of pulsating drones, sul tasto string sprawls and metallic percussion, more even-tempered sequences are also recalibrated. Characterized by quiet rubs from Robair and restrained string slashes from Smith, Feichtmair’s clarion whines and slurs on bass clarinet during tracks like “Boil Over & Blossom” mean that the rolling exposition reflects stasis as well as whistling high pitches. However the lengthiest instance of this group’s multi-faceted blend of concentrated linear motion and tempered exploration is on “Bitterest Joys”. Moving among multi tempos and pitches, expelling doits and slap tones, Feichtmair on bass clarinet advances the exposition. When a reed crescendo is attained irregular whines and slurs are moderated with percussive rim shots and gong echoes, leading to a linear conclusion.

Acoustic textures are buttressed by electronic programming on An Established Color and Cunning, as the Tender Buttons trio encompasses aesthetics and abrasions during seven, mostly extended selections. Besides Robair, using electronics and percussion, the other members are Tania Chen, who has collaborated with John Tilbury and Wadada Leo Smith, playing piano and percussion and Tom Djll, who has worked with Pauline Oliveros and ROVA, on trumpet and electronics. In truth the only track which exhibits expected brass timbres in the final “A violet luck and a whole sample and even then quiet”. Distant formalist keyboard patterning and watery pops plus gong resonation from Robair set up the trumpeter’s grace note exposition which further divides into half-valve smears, splintered puffs and jagged breaths. With the brassy paradigm established the narrative defaults so restrained pianism and single note percussion clanks are also heard. Many of the other tracks are defined in an equivalent fashion, however the sonorities also encompass sliding programmable drones which intensify the sequences’ non-acoustic interface. “The sudden spoon is the wound in the decision” is the most electronic of the tracks with thumping whooshes and oscillated crackles hovering in the background throughout as pressurized processional piano chords, metallic rubs and cymbal clatters are in the forefront, before being overtaken by wave forms. Finally a temple-bell-like clanging constitutes the coda. Elsewhere Djll uses electronic transference to give more body to his repeated tongue flutters and half-valve effects and Robair does the same with his instruments, making voltage flanges as much part of his accompaniment as rolling percussion pressure. While internal spatial elements are adapted to the external synthesized timbres ranging from rocket launching replications to watery burbles, Chen concentrates on the piano. Key clips and stop advance the narratives in some cases, when she’s not extracting rugged echoes from the instrument’s internal strings.

No electronics, but manipulation of extended techniques along with more conventional, near so-called classical music-like motifs, characterize soprano saxophonist Andrew Raffo Dewar’s four-part Ekphrasis Suite. Dewar, who has performed with Anthony Braxton, blends his saxophone with the oboe or English horn of  Kyle Bruckmann, who has also played with Braxton; Robair’s percussion and vibraphone, and the guitar strokes of John Shiurba, who has a playing history with the percussionist. Because of the traditional reeds and vibraphone, the session is lighter, thin and airier than the other more bottom-tone-emphasized discs. Also since the title is defined as describing one art medium with another, the suite sections are more programmatic since they reflect four of visual artist’s Pete Schulte works. However while the pseudo-Baroque reed blend may be removed from Schulte’s geometric art, its angles and shapes can be affiliated with pinched oboe sprawls, saxophone triple tonguing, continuous guitar strums and rhythmic backing elsewhere. Circular breathing from the horns and jagged or strained timbres from all four, properly balance the charming harmonies that are sometimes heard. Additionally this provides textural mettle so that flighty reed wisps don’t predominate. Key to the suite’s evolution is the middle section of “II” and “III”. Propelled by a patina of vibe clanks, gong resonation and percussion rumbles, the first cleverly balances those polyrhythms with melodic kernels created by the reed players. Studded with tongue stops and tonal slurs, the detours into steel-drum-like vibrations and string twangs are resolved with conclusive reed flutters. Similarly balanced between light and darkness, “III” makes use of distant guitar flanges and triangle plinks to move the exposition in small increments until it become more constrictive and concentrated. The pressure is released as unison trilling from both Dewar and Bruckmann take over at the conclusion and buzz spaces into the formerly opaque theme.

Cooperative without drawing undue attention to himself, Robair adds the proper amount of pulsed agility and savvy acumen to these discs. These and expressive qualities from the other players make each compelling on its own.

–Ken Waxman

Track Listing: Shrilling: 1. Throw off the Last Veil 2. Bitterest Joys 3. Drowned in Yellow Streets 4. Carpets on the Barren Land 5. Sank into the Gold 6. Astray in Everything 7. My Thousand Greedy Wishes 8. Nothing’s Dull or Rough 9. Boil Over & Blossom 10. Transfigured Ground 11. Thought is Untrue 12. A First Decision 13. Various Costumes

Personnel: Shrilling: Tanja Feichtmair (alto saxophone, bass clarinet)l Damon Smith (bass) and Gino Robair (percussion)

Track Listing: Established: 1. A stubborn bloom 2. The sudden spoon is the wound in the decision 3. What is the current that makes machinery, that makes it crackle 4. Lovely snip and tender turn, excellent vapor 5. Two in ther centre, makes two one side 6. Bargaining for a little, bargain for a touch 7. A violet luck and a whole sample and even then quiet

Personnel: Established: Tom Djll (trumpet and electronics); Tania Chen (piano and percussion) and Gino Robair (electronics and percussion)

Track Listing: Ekphrasis: 1. Ekphrasis Suite I 2. Ekphrasis Suite II 3. Ekphrasis Suite III 4. Ekphrasis Suite IV

Personnel: Ekphrasis: Andrew Raffo Dewar (soprano saxophone); Kyle Bruckmann (oboe, English horn); John Shiurba (acoustic and electric guitars) and Gino Robair (percussion and vibraphone)