Glenn Dickson

Alexandra Grimal
Refuge
Relative Pitch RPR SS017

Two essays in higher-pitched reed improvisations reveal a fundamental difference in sound analysis and execution. French soprano saxophonist Alexandra Grimal, who has been a member of the Orchestre National de Jazz and is part of other groups, is mostly concerned with expressing pastel moods and sentiments during her eight selections. Meanwhile American clarinetist Glenn Dickson, who adds live loops to his reed explorations, produces seven tracks which are subtly tinged with melodies and emotions developed during his tenure with klezmer bands Naftule’s Dream and Shirim.

Refuge is concerned with silent pauses as much as projected tones, as well as the spatial arrangements of textures from the double staircase in the castle in which it was recorded. As the tracks evolve with reed flutters, curves and irregular trills, sometime output is circular breathed, sometimes tones turn to high-pitched shrills and gaunt puffs and sometimes two separate tandem lines are created. Besides the frequent extended silences and measured stops, reed timbres commonly echo back onto the initial breaths. While some improvisations flow with unbroken Arcadian-style lowing, others pack squeaky doits or strident spetrofluctuation into an unstoppable rush. “Chateau” may be the defining track. Revealing two tone at the top, one clarion and moderate and another lower-pitched one as continuum, intermittent stops then separate atom-sized breaths and hardened reflux during the exposition as burbled as air is forced through the body without key action. Eventually tongue sucks join pummeling yelps to concentrate into a single horizontal breath.

If Refuge is characterized by extensive uses of spaces and pauses, then the tracks on Wider than the Sky sometimes seem so packed with textures that there’s almost no air among the notes. Part of this is attributed to the live looping and delay device which frequently allows Dickson to layer multiple real time extrusions on top of one another. That means a sequence can include a freylekhs-like trill on top, and mid-range horizontal story-telling and a concentrated drone-like ostinato on the bottom which cushion the higher pitched lines. Through the first six tracks Dickson uses his mouth-lip-tongue manipulations plus the live processing to experiment with a variety of techniques without losing the soundscapes’ linear flow. For instance mid-range tones gradually unfold at a comfortable pace until they connect with smooth upsurges; or  timbral connections oscillate between wispy trills and shuddering honks. “Memories Lost” is the closest to an Eastern European tune as a wallowing chalumeau surge adds a tinge of melancholy to the introduction. Clarions sucks and stops then introduce a dreamy tremolo pattern as undulating reed timbres that still echo after the track ends.

All this is prelude to the nearly 18-minute title track which integrates many of the proceeding motifs. As quiet clarion trills create a lyrical line, repetitive reed loops continue with little change in tempo or pitch.  During the final minute however, reed affiliations smear until cushioned by a processed tones resembling a string section. Finally the track climaxes with perfectly rounded notes.

These variations on solo reed improvisation couldn’t be more different. But each has created a legitimate way to approach the challenge and project compelling sounds along with serviceable solutions.

–Ken Waxman

Track Listing: Refuge: 1. Salamandre 2. Chateau 3. Susumu 4. Martinets 5. Vent 6. Roseliere 7. Escalier 8. Berceuse

Personnel: Refuge: Alexandra Grimal (soprano saxophone)

Track Listing: Wider: 1. Introit 2. Closer to the Fire 3. Gentle Touch 4. Memories Lost 5. Pursuing Winds 6. Brave shines the Sun 7. Wider than the Sky

Personnel: Wider: Glenn Dickson (clarinet and live loops)