Gianni Mimmo/Harri Sjöström

Mats Gustafsson & Andreas Røysum
Vindögae
Motvind Records MOT 21 LP

More palatable than many improvisational duos, probably because woodwind sonorities are generally complementary, reed pairings have at least a half-century history. These accomplished sessions expand the thesis by singular immersion in the contrapuntal challenges raised by annexing timbres from either high or low-pitched instruments. Each attains it goal by combining sounds from reeds of similar intonation. Wells is another meeting between veteran creative musicians, Italian soprano saxophonist Gianni Mimmo, who has recorded often and Finnish soprano and sopranino saxophonist Harri Sjöström, who playing partners have included Cecil Taylor. Moving all the way down the scale, Vindögae features two extended tracks by Norwegian clarinetist/bass clarinetist Andreas Røysum, who usually leads his own bands and Swede Mats Gustafsson. Member of The Thing, playing slide flute, fluteophone and baritone saxophone.

Taking the high road first, Mimmo’s and Sjöström’s timbres are most easily identifiable when the later sticks to the skyscraper-pitch sopranino. Often its peeping tones are used to decorate and color themes Mimmo advances with a soaring but linear tone. At the same time the two break up the call-and-response or contrapuntal challenges by pivoting to sudden doits or curving lines that are stretched further and further. When this happens as on “Signaling” double counterpoint is then broken with one saxophonist creating a continuum with percussive tongue slaps while the other peeps and squeals. Although tone elevation is the duo’s preferred strategy that doesn’t preclude infusion of warmer tones into the program. The concluding “Encyclopedia at Glance”, for instance melds reed intersection into smooth timbral slides that continue in tandem even as one player emphasizes tough bites and split tone and the other shrill flutters. Nonetheless both lines eventually affiliate and end together. Distinct variations are constantly prominent as clarion tone widen and deepen in points, or one or another thin linear commentary scales down to gritty, grainy scoops. Intriguingly, when each gets a solo spot, variations produced by reed techniques and inner body tube echoes posit that a second horn is producing the pointillist sound squibs. This suggests each player is creating multiple sounds. . Overall, even on the extended “Pas de Deux” consistency and creativity are emphasized during the sonic dance. Twittering squeezed notes may be tossed from one to the other with maximum flutters and stops as they move up the scale. But moving to mid-range cascading tones leads to a harmonized and horizontal finish.

Gustafsson and Røysum confirm their affiliation to basement tones from the very beginning as Vindögae starts with an exaggerated chalumeau buzz soon interrupted by a thick tongue slap. Gustafsson’s baritone saxophone maintains these basso stops and swells as Røysum’s clarinet squeals detour into altissimo territory. His stretched trills are soon joined by fluteophone puffs that also bring in vocalized yelps from both. Soon it’s the clarinetist who maintains horizontal flow as high-pitched flute peeps vibrate around it setting up an elevated challenge, met until both horns subside to middle-range pitches. The climax returns the two to the head, as Røysum tongue stops and lows and Gustafsson responds with gusts of toneless air. The second improvisation is more of the same. Except this time when players aren’t producing altissimo screams at prestissimo tempos, they both evacuate renal tones. Working their way down from end blown or reed vibrated twitters, they revert to strained lower pitches, with Gustafsson’s honking and buzzing saxophone scoops almost overpowering lighter tones. Finally tongue pops, key slaps and intermittent blats from bass clarinet and baritone saxophone reach the lowest tone possible until Røysum confirms the polyphonic thrusts with frenetic upwards reed blasts. Expressing the high and low textures of free music, these duos confirm their ability to construct a fully realized sound picture using only reed, metal, wood and breath.

–Ken Waxman

Track Listing: Wells: 1. Announcement 2. Remoteness 3. Posture/Gesture 4. Pas de Deux 5. Tear and Darn 6. Signaling 7. Recommendation 8. Spark Strategy 9. Ondina 10. Encyclopedia at Glance

Personnel: Wells: Gianni Mimmo (soprano saxophone) and Harri Sjöström (soprano and sopranino saxophones)

Track Listing: Vindögae: 1. Side A 2. Side B

Personnel: Vindögae: Andreas Hoem Røysum (Bb clarinet and bass clarinet) and Mats Gustafsson (slide flute, fluteophone and baritone saxophone)