Akosh S. Trio

Galiana/Gallardo/Riquelme
TAR
Liquen Records LRCD 40

Re3gional disparity doesn’t count for much when it comes to these Free Music extrapolations. So while the Hungarian Akosh S. Trio’s Idekintt/Out Here is a fine example of contemporary improvisation so too is the Spanish TAR trio’s eponymously titled set. Europeans from different parts of the continent may spice their repasts differently, but these musical meals provide the same nourishment.

Actually recorded in Germany, and divided into 10 interlocking selections, the first is an unbeatable showcase for veteran tenor saxophonist/multi-instrumentalist/flutist Akosh (né Szelevényi), who has recorded with the likes of Joëlle Léandre and Hamid Drake. Younger players, bassist Péter Ajtai has played with John Dikeman and István Baló among others, while drummer Szilveszter Miklòs has backed István Grencsó and Szilárd Mezei. Although a new configuration, the three selection on the Spanish disc also feature another veteran, saxophonist Josep Lluís Galiana. An academic, who has been involved in numerous configurations featuring sound seekers like and Joan Gómez Alemany and Thomas Bejelkeborn, Galiana is joined by drummer Jesús Gallardo  has worked with Galiana  in the past and cellist Matías Riquelme, who often sounds as id he’s playing a double bass. Riquelme has recorded with people like Tazio Caputo and Lucas Gaudin.

Playing in front of an enthusiastic audience in Köln, the Magyar tenor saxophonist emphasizes split tones, smears, tongue slaps, bent notes and honks as he’s followed every step of the way by resonating bass string thumps and rasping cymbal clangs. Repeated reed cries and altissimo broken chord vibrations continuously animate the bass and drum continuum and are met with enthusiastic screams and cries from the audience.

Ajtai’s sympathetic arco swipes illuminate the trio’s free-flowing interaction as the members reach a crescendo of interactive motifs during “逃脱/Illan/Escapes” and “认罪/Lehet Vallani/May Confess”, the linked and longest selections. Moving from a heavy vibrato to aviary squawks and harsh prestissimo blasts, S attains a multiphonic meridian, then begins shaking unattached bells while the bassist string pumps the exposition to its next summit. Turning to sopranino saxophone, the reedist projects variations on variations including inner-horn mumbles and bites. Even as bass and drum motion preserve the narratives, crowd enthusiasm is maintained. “认罪/Lehet Vallani/May Confess”, slightly lessens the intensity, as reed pivots and curves move to hocketing flutters that finally descend to breathy tongue stops. What seems to be response to an encore on the subsequent track was actually recorded at a different concert and shows off S’s inner body tube flute hums as well as hand drumming. (Coincidentally a DVD in the same package features the same trio at yet another live concert).

As powerful, but divided into a short intro and a brief coda with an improvisation almost seven times the length of the other tracks combined, TAR preserves another live set. Irregular drum ruffs and resonating cello string stops set up irregularly vibrated trills and honks from Galiana on “TAR II” and the improvisation continues from then on.

As  Riquelme’s carefully positioned string pops and Gallardo’s rim clanks preserve horizontal motion, the saxophonist’s output ascends to trilling whorls, and circular breathed flutters. A contrapuntal response comes from the cellist in a miasma of thickened bow swipes, doubled stops and sul tasto emphasis. Gallardo’s small instrument shakes and drum paradiddles further break up the exposition as the saxophonist’s triple-tongued vibrations thicken while maintaining broken chord projection. Connecting the cellist’s irregular plinks, percussion pressure and aggressive reed note bending, contrast between string rubs and reed trills is resolved by the finale. Cymbal buzzes, string strums and up-and-down reed slurs supply the audience’s request for an encore.

Although the idea of mixing Iberian and Hungarian cuisine would make most people queasy. On their own as with these trios composed of musicians of the same nationality, the attributes of each player are combined for tasty musical results.

–Ken Waxman

Track Listing: Idekintt: 1. 爆裂/Fakad/Burst 2.势在必行/Le Kell Tenni/Must Be Done 3. 只要/Amíg/As Long As 4. 逃脱/Illan/Escapes 5. 认罪/Lehet Vallani/May Confess 6. 轻风/uvallat/Whiff 7. 种子/Magvak/Seeds 8. 握住/Ami Tart/Hold 3:47

Personnel: Idekintt: Akosh S. (tenor, soprano, sopranino saxophone, flute and bells); Péter Ajtai (bass) and Szilveszter Miklòs (drums)

Track Listing: TAR: 1. TAR I  2. TAR II  3. TAR III

Personnel: TAR: Josep Lluís Galiana (tenor and soprano saxophones); Matías Riquelme (cello) and Jesús Gallardo (drums)