Monday, April 22, 2019

Yan Jun/Jason Kahn - None of Us (Herbal International)

Five tracks from a vocal duo of Yan Jun and Jason Kahn during 2016, four short ones (one to three minutes) and one lengthy one running over 36 minutes, except...their vocals have been erased, leaving only the sounds that occurred in either Yan Jun's flat as they rehearsed (racks 1-3) or in the concert venue (4-5). For the shorter tracks this means, largely, the shuffling of feet, the gentle bumping together of unknown objects, etc. The longer cut was pieced together from five events, so one hears differences of general ambience and hushed conversations (presumably from audience members) in addition to the dull clicks and thuds. There are sections of near-silence, occasionally followed by a brief, startling in context, burst of applause and perhaps some post-concert, blurred general discussion. It's kind of an interesting idea--though the sort of thing that can and should only be done once (which is fine)--and even works a little if put on at low volume and not paid strict attention to, allowing it to blend in with one's environment.

Burkhard Beins/Mazen Kerbaj/Michael Vorfeld - Sawt Out (Herbal International)

An improv set with two percussionists (Beins and Vorfeld) and a trumpeter (Kerbaj). I'm attracted to that instrumental combination for some reason and the range of sounds created here, the thick matrix constructed between struck and stroked objects and the panoply of breath-derived brass sounds is quite impressive and enjoyable. The aural field is full, active and churning with little regard for silence--in this sense, it's a kind of extension of jazz-derived free improv, though of a thicker aspect, less scurrying, more grinding. 'Solid Water' features an intense, swirling sound the source of which I can't guess--it seems to be electronic, though nothing such is credited, but could be from the trumpet. In any case, it's pretty riveting and when it becomes increasingly embedded in the emergence of multiple cymbals/gongs, the effect is quite strong, made more so by its eventual abrupt cessation. 'Crossfeed" contains some searing bow-on-metal work through which one can just discern pop music from a radio buried in the mix, again developing a rich, unusual tone-world. The finely titled, 'Sore Toad' closes the disc with an engaging clatter of bells and thudding noises. While part of me would have liked to hear more space, more reticence, this set works quite well on its own terms and will certainly be enjoyed by listeners with a taste for active, visceral improv.

Christian Kobi/Christian Müller - A Second Day (Herbal International)

Five tracks of improvisation from Kobi (soprano saxophone) and Müller (sampled bass clarinet and electronics). As opposed to the album reviewed above, this combination, at least as realized here, doesn't sit as well with me. The soprano is generally strained (intentionally, no doubt) and the sampled electronics possess a kind of Ina GRM-y sheen that has never appealed to me. That said, there's a kind of delicate fragmentation at work here that's well-formed, spiky and colorful. The fourth track (cuts are numbered #1 - #5) ameliorates this, resulting in a very fine flow, a stream interrupted by chirps, buzzes, pops and other welcome detritus, very absorbing. The final track almost seems to be a reconciliation of these two approaches and works as well, combining the harsh spikiness with a sandpapery, staggered kind of flow. As a whole, the recording is hit and miss to these ears but ably accomplished and should appeal, among others, to admirers of Noetinger, eRikm and similar musicians striding the border between improv and contemporary electronics.

Herbal International