Cyprien Busolini & Bertrand Gauguet

David Bennet/Vilhelm Bromander
Within Reach of Eventuality
Thanatosis THT 13

Layering and intermingling the timbres of a string instrument and an alto saxophone these duos create unique minimalist sounds where concentrated drones only occasionally draw back for instrument identification. But mood not melody emphasis is the element that both sessions share. Evolving textures through hazy undulations means that although Within Reach of Eventuality is in four parts and Miroir officially has two, each is an undivided entity.

All the musicians have disparate backgrounds. Swedes, bassist Vilhelm Bromander has recorded with the likes of Christer Bothén, while younger saxophonist David Bennet moves between improv and Free Jazz. Both French, violist Cyprien Busolini usually works with notated ensembles but has recorded with Seijiro Murayama. Also an electronic composer, saxophonist Bertrand Gauguet improvises with the likes of John Tilbury and Sophie Angel.

Harsh string rubs and reed hisses begin the Swedish disc, and are soon concentrated into a rooted drone that become louder and studded with intermittent percussive thumps that at points resemble the crack of pool balls against one another. With overlapping harmonies the elevated saxophone squeaks and buzzing string suggestions continue to blend while advancing slowly enough to uncover each micro particle of both instruments’ individual textures. Silent pauses and junctures of airy reed breaths and intermittent string shakes boost the pressure without slowing horizontal evolution. Still, despite the occasional reed vibrations and string slice, tones from either can be virtually indistinguishable. It’s the concluding “Part 4” where high-pitched reed cries and strained arco thumps detach themselves from the overriding, almost synthesized buzz, but just as quickly the program becomes more dissonant as the duo’s exposition widens. A final jagged reed swell and stretched bass string reconfirm microtonal examinations. But no matter how near-atonal and emphatic partials become, stasis is maintained until the drone whisks the performance away to silence.

In spite of a viola’s higher pitches the French duo’s combined interface is not that dissimilar from the other two’s output. What is unique is that among the concentrated and layered tones of spiccato string slices and buzzing reed flattement is a near melodic inflection. It evolves alongside the slowly hardening swells that take on almost organ-like tremolos. Additions are still pointillist and pauses still interrupt the evolution, but between them they set up a hard-soft, dark-light, loud-quiet cooperation animated with forceful bowing, reed burbles and an angled tone that introduce “Vacillation” the second track. No less hesitant than the first, though separated with more silences, the sensed rather than heard textures aren’t obvious during the introduction and are more audible as saxophone projects his tone without key movement and insect-like rubs from the violist intensify and harden. The nearly opaque result is pierced at the half way mark with harsh string sawing and reed tongue stops. Connected undulations blend into a loud, undifferentiated done, then buzz away.

Though slightly more individualistic, Miroir also mirrors the timbral development on the other disc. Setting up paradigms and parameters each is self-contained enough to be appreciated for its defined atmosphere not designated development.

–Ken Waxman

Track Listing: Within: 1. Part 1 2. Part 2 3. Part 3 4. Part 4

Personnel: Within: David Bennet (alto saxophone) and Vilhelm Bromander (bass)

Track Listing: Miroir: 1. Oscillation 2. Vacillation

Personnel: Miroir: Bertrand Gauguet (alto saxophone) and Cyprien Busolini (viola)