Daniel Spicer (Jazzwise) on The Beholder’s Share by Alex Bonney / Paul Dunmall / Mark Sanders

One of Sun Ra’s great contributions to improvised music was the notion of using the synthesiser not as a melodic instrument, but as a generator of pure, abstract sound. It’s an idea Alex Bonney pursues to mind-bending effect on these three otherworldly jams in the company of two dependable UK heavyweights, drummer Mark Sanders and saxophonist Paul Dunmall.

On the opening ‘Resonance Refractions’, the synth gloops up a thick murk, seeded with a grainy drizzle of drums and cymbals, out of which Dunmall’s sax emerges with a forlorn call. When Bonney switches to trumpet – letting off short squiggles that bob and weave together with the sax – an ominous background throb keeps the weird energy high.

The shorter ‘Arid/In Phase’ sets off tactile synth squits and pops, coaxing harmonic cymbal scrapes and low tenor burble. While these two excursions deal in a kind of sustained alien tension, the 19-minute ‘Generating Worlds’ offers an exhilarating release as Sanders dives into a clattering pulse-time drum barrage, with Dunmall letting rip on tenor and Bonney sliding from a sepulchral rumble and roar to a deliciously chewy torrent of squidge. It’s a highly satisfying slice of space-aged free-jazz.

Ken Waxman (Jazzword) on The Beholder’s Share by Alex Bonney / Paul Dunmall / Mark Sanders

Bonney’s programmed currents are constant rumbling presences on the first disc, while in contrast Sanders’ refined drum strategy is oblique and obtuse. That means the exposition is defined between the two horns. As mellow brass portamento evolves to speedy triplet pops and bugling screams as the saxophonist responds in kind with bitten off textures and irregular vibrations. Similarly a change from corkscrew trumpet squawks and half-valve vibrations allows Dunmall scope to emphasize change  with whiny vibrations and tongue slaps as linear tones. These light/dark variations skirt conventional evolution as synthesized oscillations add otherworldly drones and hisses to the tracks. Straightened into a logical flow once Sanders’ drum rebounds and cymbal slaps are asserted during the final sequence of the concluding “Generating Worlds”, the preceding sections contain the most dissonant playing. Even as the curlicue voltage sucking sounds of 21st century expression whoosh alongside and underneath the solos, flatulent brass ripples and cascading reed doits and split tones still resemble the Ayler Brothers 1960s output at its most experimental. Managing to meld both motifs is the skill that characterizes the session and leaves a lasting impression.

Jean-Michel Van Schouwburg on Live / Studio by Phil Durrant and Daniel Thompson

When we immerse ourselves in this duo music concocted by acoustic guitarist Daniel Thompson and violinist Phil Durrant turned avant-garde mandolinist, we say to ourselves that the improvised music scene is full of creators that we cannot do without. Besides, I don’t think that Derek Bailey or other leading guitarists have published a guitar duo album (or with an Octave mandola, Durrant’s instrument) also successful. Essential even. For a long time, Phil Durrant evolved in a trio with John Russell and John Butcher in a revealing trio which pushed his two acolytes to the pinnacle of the international improvised scene with only one vinyl in 1987 and two CD’s (at Random Acoustics and Emanem), but oh how many gigs! Since the second half of the 70s, Phil has acquired invaluable experience which sublimates and transcends his instrumental and creative background. He also launched himself among the very first into the “reductionist lower case” alongside Radu Malfatti, Burkhard Beins, Rhodri Davies, etc… before it became a commonplace. As for Daniel Thompson , he has been heard alongside veteran flautist Neil Metcalfe, clarinetist Tom Jackson, violist Benedict Taylor and singer Kay Grant and is increasingly establishing himself as an indispensable voice in the universe six-string radical and as a distinguished producer with his flawless label, Empty Birdcage . Their music as a duo is exploratory, obstinate, searching and comes in a succession of discoveries and pearls which have nothing to envy of the ease of Derek Bailey or the ascetic assurance of John Russell. Thompson has carved out a style and a personal approach that is immediately identifiable and very distinctive in an abstract musical domain made of clusters, dissonant intervals, improbable frictions, harmonics and improbable zig-zags. But what gives all the salt, spice and originality of this duo like no other lies in the contrast and familiarity of Phil Durrant ‘s playing compared to his colleague on this rare stringed instrument that is the mandola, serious sister of the popular mandolin (called “soprano” tuned in fifths). Or more precisely here, the octave mandola or tenor mandola tuned in G – D – A – E. The “simply” mandola is the “viola” equivalent of the mandolin. This tenor version instrument is called Octave Mandolain English and is equipped with double strings and a neck much shorter than that of a guitar, which limits its harmonic possibilities and the fluidity of its playing compared to the guitar. The mandolin is used in traditional Mediterranean music and especially in Neapolitan melodies. The contrast in register and sound color is well marked and their juxtaposition is downright provocative for the “serious music” sphere, but very much in line with the delirious trend of free music. Our two fellows do not hesitate to rub, scratch, peck, torture their strings, repeating the same note(s) obsessively with small variations, abandonment or frenzy. They let them resonate and interweave their harmonics and the most sought-after sounds or isolated notes, like one man. The sound occurrences and the narratives evolve in unpredictable and meandering paths, sometimes with as much logic as confusion. Once a successful atmosphere is achieved, it is suddenly abandoned for one or more ideas or an abrupt end. It’s intensely playful with a mania for squeaks, tremors, resonances of all kinds, permanent disorder and bright ideas. Without a doubt, one of the most convincing recordings of the Bead Records label, which has survived the vicissitudes of time and successive generations of improvisers since 1974 and the distant albums of Chamberpot, Peter Cusack and Ian Brighton, two guitarists among the most curious about this multifaceted British scene

Live / Studio was recorded in concert at Café Oto: 35 exciting minutes and in the studio for the following six tracks including two “longer” ones of ten and seven minutes and four miniatures of two – three minutes, each with a strong character. The duo renews its material and the specificity of its exchanges and sound correspondences with dazzling verve and as much finesse as “sarcasm”, transcending the pointillist aspect with a confounding naturalness. John Russell and Roger Smith recorded a duet with guitarist Pascal Marzan, both remarkable (Emanem). Here is an additional masterpiece to this arduous art of “two guitar” improvisation, even if one is an Octave mandola .

Eyal Hareuveni (Salt Peanuts) on Live / Studio by Phil Durrant and Daniel Thompson

Live / Studio captures meetings of two British free improvisers – Phil Durrant on octave mandolin (he is a multi-instrumentalist who also plays modular synth, laptop and viola) and Daniel Thompson, who is a generation younger and largely self-taught, on Acoustic guitar (and the founder and director of the free improv label, Empty Birdcage Records). This album is the debut album of these established and resourceful improvisers. The beautiful cover artwork is by Finch WF Thompson.

There is nothing folky in the music of this duo despite the acoustic instruments. The first, live improvisation, a 35-minute piece was recorded at Cafe OTO in London in January 2022. It is a cerebral and uncompromising exploration of the sonic palettes of the octave mandolin and the acoustic guitar, obviously, with an array of extended techniques. This piece stresses the tight and tense, conversational dynamics of the duo that shift within and between close textural territories. The following, shorter six improvisations offer more intimate and patient dynamics of Durrant and Thompson that flirt – briefly – with playful and rhythmic gestures and even lyrical themes.

Andrzej Nowak (Spontaneous Music Tribune) on Live / Studio by Phil Durrant / Daniel Thompson

The legend of British free improv, Phil Durrant, a musician whom we once associated with the violin and electronics, today playing most often on the mandolin, meets guitarist Daniel Thompson, a musician at least one generation younger, but here, in the pages of Trybuna , well-known and cherished to a comparable degree.

The musicians first perform with one sound stream for over two quarters of an hour at Cafe Oto in London , and two months later they record six shorter improvisations in a studio setting. Today, the audio documentation of both meetings, thanks to the equally famous publisher Bead Records, comes to us on a handy compact disk and absolutely pleases our ears – from the first to the sixty-fifth minute of its fast-paced narrative.

The artists begin their concert meeting with a lazy exchange of words. In this dispute, they rather look for common ground of understanding, imitative sound, and consistent behavior, rather than reasons to go against the partner’s expectations. They work with concentration, but do not show any tendency towards minimalistic actions or other tendencies to bore the audience. Incidentally, the mandolin catches the rhythm here, while the guitar loops around its own thoughts. The calm improvisation has its minor peaks, often dictated by the repeating guitar, for example in the middle part of the game. Musicians do not shy away from prepared sounds, although they are not overly active in this area, they like concrete actions , especially the guitarist who feels the need to sand the glaze of the strings from time to time. In this fluid, generally linear story, devoid of solo expositions, there is no shortage of moments of reflection that seem to generate occasional call & response incidents . In the second part of the set, the musicians fall into a state of suppressed activity for a long time and seem to delve into thoughts loosely related to the cause and effect of the concert. At the end of it, however, they are willing to carry out more lively interactions, not shying away, not for the first time, from semi-mechanistic activities.

In the studio part, the artists serve two longer narratives (10 minutes and over 7 minutes), and then four compact, 2-3 minute episodes. In the former, the starting point is the dull-sounding half-chords of the mandolin and the filigree scraping of the guitar strings. Both sound streams have similar dynamics, they go through a phase of increased creativity, not without successful repetitions, and then fall into darkness, but only to ignite a spectacular climax in a moment. The second story has a similar dramaturgy – from the minimalism of the opening, to the almost noisy outbursts of expression at the development stage and the angular finale. In the next part, the musicians count the strings and find quite a few portions of post-melody. Immediately afterwards, they fall into a trance of scrubbing the strings and rhythmically striking them, and after a while they immerse themselves in an ocean of filigree, even molecular phrases. There is no shortage of emotions in this phase of the recording, and the guitarist’s preparations are especially pleasing. The studio part of the album is successfully summarised by the last improvisation. Full of long sighs, sounds drawn through teeth, saturated with the minimalism of a dying ballad, it easily finds a justified ending.

Massimo Ricci (Touching Extremes) on Live / Studio by Phil Durrant / Daniel Thompson

I hadn’t listened to a record of non-idiomatic improvisation that captured my interest from start to finish in a long time. Live / Studio, which was recorded by Phil Durrant and Daniel Thompson at London’s Cafe Oto and Cable Street Studios, showcases the inherent resplendence of the tones produced by an octave mandola paired with an acoustic guitar. The way the couple interacts immediately transported us back to the fabulous times we spent listening to experimental guitarists in our early years. You know, when we were all still kids and Derek Bailey, Hans Reichel, John Russell, Fred Frith, Henry Kaiser, and the likes were already there. Essentially, we relived the first encounter with the repudiation of all limitations imposed by predetermined forms.

In the correct hands, two such instruments can become as many palettes as possible. Durrant and Thompson possess not only dexterity but also a keen sense of imagination and hearing. Their non-techniques blend together admirably, creating a sonic philosophy centered on rubbing, shimmering pulsation, sharp spikes and, in general, brilliant timbre – even in environments where it feels like everything is rusted over. Amidst all of this, countless dynamic and rhythmic investigations constantly satisfy this writer’s eternal wish to experience a life devoid of clichés. Either spoken or performed. We are able to enjoy this great music thanks to the remarkable efforts of drummer Emil Karlsen, who’s keeping this vintage label alive and in excellent condition. The acquaintance with these obscure gems is not destined to stop here.

Ken Waxman (Jazzword) on Live / Studio by Phil Durrant / Daniel Thompson

Starting with the lengthy live track, the duets become more condensed in the studio with no loss of verve or imagination.  “Live – Cafe Oto” sets the pace with the guitarist’s simple chording soon taking on percussive and metallic properties as Durrant’s harsh frails encompass stops and rubs with movement towards the highest pitches near the headstock. With the guitarist maintaining the  horizontal connection, tempos speed up and pitches elevate as both range over the string sets for torqued slaps and pops. The final sequence defines close-knit cooperation, Harmonies remain, with Thompson’s sandpaper-like string rubs creating an ostinato,  over which Durrant’s shakes, plucks and jabs provide decoration.

Variations of this strategy play out on the six studio tracks as well. Nonetheless pivots towards Blues variations, the melodies of  forgotten folk ballads and rapid frails and twangs are offset by unexpected unmetered free music passages where the sophistication of intersecting frails is prominent. Aptly meeting the challenges proffered in each situation, Thompson’s adaptability and ability is demonstrated in both cases.

Ken Waxman (New York City Jazz Records) on Especially For You by Sjöström / Wachsmann / Hirt / Lytton

Harri Sjöström, who turns 72 this month, is a Finnish musician who has maintained an affiliation with free music over the years and remains a soprano/ sopranino saxophonist who might be more likely to play with other european improvisers than Finnish ones. Wells and Especially For You are two fine examples of this proclivity.

On Wells, he is paired with Italian soprano saxophonist Gianni Mimmo, who has a similar knack for finding sympathetic partners. Purely acoustic, their individual timbres are easily identifiable, particularly when Sjöstrom sticks to his skyscraper- pitch sopranino. The Finnish player’s peeping tones decorate, while the Italian’s soprano advances colorful themes. Sometimes the two break up the contrapuntal challenges by pivoting to sudden reed blats or further stretching expositions, as on the double counterpoint of “Signaling”, which is broken with one saxophonist creating a continuum of percussive tongue slaps while the other squeaks and squeals.

although pointed tones are the duo’s preferred playing strategy, that doesn’t preclude the infusion of warmer tones. The concluding “encyclopedia at Glance” melds reed intersection with smooth timbral slides. Its final affiliation is enlivened with tough bites from one and shrill flutters from the other. even on the extended “Pas de Deux”, consistency is emphasized. Squeezed notes may be tossed from one to the other as each moves up the scale—but the conclusion is both harmonized and horizontal. Intriguingly, the duo’s sound is so entrenched that, when each gets a solo spot, reed techniques suggest that another saxophone is producing additional sound squibs.

There’s no question whose reed textures are projected on Especially For You, since Sjöström is the only horn player. but considering that british violinist Philipp Wachsmann amplifies his strokes with electronics, German guitarist erhard Hirt projects his timbres with computer treatments and british drummer Paul Lytton adds textures with cymbals and various percussion objects— reconstituted sounds are common. each player has a history of playing with one another, so synergy is immediately and audibly established. Most obvious are acoustic intonations from the saxophonist and violinist, though Wachsmann often alternates his melodic patterns with arco stops. and while Sjöström’s harsh bites and split tones are also prominent, Lytton’s irregular smacks or sweeping cymbal pealing become accents to intensify themes. Otherwise, there are more silent interludes than percussion breaks.

While the album ends with a near-balladic track (“For you Lullaby“), detours are prominent during the previous improvisations. Hirt may occasionally sound a single string clip or sweeping strum, but his output is mostly computer programmed. Coupled with the violinist’s electronically-mutated pulses, the synthesized voltage adds unexpected squeaks or snorts that attain greater dynamics or disrupts narratives with crackles when the interface seems too conventional. Sjöström efficiently demonstrates how his limpid tone fits, regardless of acoustic or electronically-oriented situations. More crucially both albums contain enough horizontal evolution that distinctive improvising has context in which to be appreciated.

Daniel A. Brown (New York City Jazz Records) on Especially For You by Sjöström / Wachsmann / Hirt / Lytton

This month, Kampala, uganda-born, London- based violinist Philipp Wachsmann turns 80 years old, a personal milestone that also marks more than a half-century of fearless musical explorations. As an improviser equally comfortable in acoustic and electronics-imbued settings, Wachsmann has appeared on more than 100 releases, collaborating with kindred experimental stalwarts including Roscoe Mitchell, tony Oxley, Barry guy and Evan Parker, while also signposting subsequent, younger players into the most expansive realms of spontaneous composition. We explore three recent releases that find the violinist fully engaged in the truly global avant-jazz community.

Recorded at the tenth anniversary celebrations of Einstein Kultur, a cultural center in Münich, Especially For You contains four pieces and features Wachsmann in full flight with worthy allies Harri sjöström (soprano, sopranino), Erhard Hirt (guitar, computer treatments) and Paul Lytton (drums, cymbals, percussion). the half-hour “For You Part One” leads off with a salvo of collective sound, the ensemble blasting forward as Hirt’s guttural electronics dive through Lytton’s frantic scattershot beats; the group dissolves into pools of sound at midpoint, Wachsmann and sjöström offering up a kind of alien dialogue. “For You Part two” continues the pummeling from the players and features an extended albeit minimal solo by Wachsmann. “For You Encore” is a wind-down of the previous onslaught, while “For You Lullaby” is the sole piece that hints at discernible themes, held down by the saxophonist’s pensive explorations.

Ken Waxman (Jazzword) on Especially For You by Sjöström / Wachsmann / Hirt / Lytton

One of the Finnish musician who has maintained an affiliation with free jazz and free music over the years is Harri Sjöström. Turning 72 this month and a Berlin resident, the soprano and sopranino saxophonist is more likely to be working with other European improvisers than those from his homeland. Wells and Especially For You are especially fine examples of this synergy.

On the first he’s paired with Italian soprano saxophonist Gianni Mimmo who has a similar knack for finding sympathetic playing partners both within Italy and elsewhere, including Sjöström with whom he has been collaborating for more than  a dozen years.

Purely acoustic during Wells’ 10 tracks, 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, linear tone. Sometimes the two break up the call-and-response or contrapuntal challenges by pivoting to sudden reed blats or stretching and curving expositions even further.  When this happens as on “Signaling” double counterpoint is broken with one saxophonist creating a continuum with percussive tongue slaps while the other squeaks and squeals. Although creating pointed tones is the duo’s preferred strategy that doesn’t preclude infusion of warmer tones into the program. The concluding “Encyclopedia at Glance” for example melds reed intersection into smooth timbral slides that continue in tandem.

The narrative’s final affiliation is enlivened with tough bites from one and shrill flutters from the other. Overall, even on the extended “Pas de Deux” consistency is emphasized during the sonic dance. Twittering squeezed notes may be tossed from one to the other with maximum stops as they move up the scale. But the conclusion is both harmonized and horizontal. Intriguingly the duo sound is so entrenched that when each gets a solo spot, variations produced by reed techniques suggest that another soprano sax is producing additional pointillist sound squibs rather than singular multiphonics.

There’s no question as from whom reed textures are projected on Especially For You since Sjöström is the only horn player in this ad hoc quartet of veteran international improvisers. But considering that British violinist Philipp Wachsmann, amplifies his strokes with electronics; German guitarist Erhard Hirt projects his timbres with computer treatments; and British drummer Paul Lytton adds to the free music gestalt with novel textures from cymbals and objects; reconstituted sounds are common.

Each player has some history with the others so mutual synergy is almost immediately established. Most clearly established are acoustic intonations from the saxophonist and the violinist. Still that also means Wachsmann often alternates his near melodic patterns with distant arco stops and stretches and clinking pizzicato strokes, while Sjöström’s harsh bites and split tones are as prominent as any linear connections. Lytton’s irregular smacks and rattles or sweeping cymbal pealing are used as infrequent accents to intensify thematical emphasis, especially on the two-part title track. Other than that there are more silent interludes than percussion breaks.

While the disc ends with a brief almost balladic conclusion, varieties of pivots and detours before that are prominent during the improvisations. Hirt may occasionally sound a single string clip or sweeping strum, but most of his output is the form of computer programming. Coupled with the violinist’s electronically-mutated pulses, the synthesized voltage judders up and down, adds unexpected squeaks or snorts and generally enhances the group’s playing to attain greater dynamics or disrupts with flanges or wave form crackles those times interface seems too be turning conventional.

Sjöström, whose affiliations includes extensive work with Cecil Taylor’s groups in the 1990s, efficiently demonstrates how his supple, limpid tone fits acoustic or electronically-oriented situations. More crucially both CDs contain enough linear evolution so that the distinctive sound evolution from all, concerned have a context in which to be appreciated.

Ed Pinsent (The Sound Projector) on The Way We Speak by Spaces Unfolding (Metcalfe/Wachsmann/Karlsen)

Spaces Unfolding is an improvising trio and The Way We Speak (BEAD 43) has been released on the Bead Records label. For some reason I thought this label – one of the innovatory labels that specialised in free improv in the 1970s and 1980s – was defunct, but in fact there has been a steady stream of CD releases for the last 25 years or so…Philipp Wachsmann, the violinist, is a personal favourite player in these four walls and I prize highly my copy of Sparks Of The Desire Magneto.

Wachsmann it be who still maintains the label, with help from Matthew Hutchinson, and more recently the “energetic fresh input” of drummer Emil Karlsen, who also drums on today’s record. Neil Metcalfe on flute completes the trio and these recordings were made in one day at Stoke Newington St Mary’s old church. On ‘The Way We Speak Pt. 1’ we instantly get a sense of the stark, near-broken feel of the playing of this trio; flute and violin phrases are almost hurled at each other across an empty room. Neil Metcalfe’s sparkling flute produces a very nice counterpoint or answer to Wachsmann’s melancholy drag, and Emil Karlsen punctuates each pregnant moment with his hesitant percussion. Indeed Karlsen rattles as if to placate this couple, and while I may make it sound as though they’re newlyweds throwing china plates, clearly something else is going on under the surface.

There follow three parts of ‘Unfolding Spaces’ which take us to much calmer zone, but still tinged with ambiguity and a cold, melancholic chill in the air which this album can’t completely shake off. But if you believe music can delineate an imaginary “space”, here’s music that will confirm that belief; sounds that pace the corners of the room as patiently as a carpenter measuring up for a new kitchen. Again, it’s the starkness of the playing – almost every sound made hangs isolated, alone, waiting for a helping hand – such that we’re already quite some way from the busy, scuttling free improvisation mode which was once unkindly regarded as the “English disease”. These measured steps continue in part two, with more adventurous forays into territories resembling, at times, an advanced form of modern chamber music. “Care and precision” are keywords I might throw into the pan at this point; Wachsmann’s technique with plucking is an area I hadn’t considered before, and the clear recording allows you to savour every moment like a pomegranate. I always enjoyed the hyper-active 1980s work from his frenetic bow, but it’s remarkable how this has now settled into a more approachable and pleasing form, where the individual notes really stand out, yet he still doesn’t abandon his genius for semi-abstract semi-noise scrabbles and scrapes. One might say this unique player has found a way to compress his methods and his modes of expression into a compacted, tight bundle of musical information.

Emil Karlsen deserves the credit for proposing and arranging this date, after he’d met the musicians in 2019 and started working with them; seems that Wachsmann and Metcalfe never actually worked together in a small group setting like this, although they had played in Evan Parker’s various ensembles, and are members of the London Improvisers Orchestra. Without any prior discussion or pre-planned ideas, into the venue they went, and here are the results – the “naked charm of music realistically documented”, as Martin Davidson always put it.