Christer Bothén 3

Gregorio/Smith/Bryerton
The Cold Arrow
Balance Point Acoustics bpaltd 19019

Almost 90 years ago the phrase “life begins at 40” came into common usage. With increased life expectancy the expression has long needed an updating. Listening to these trio sets involving Argentinean clarinetist Guillermo Gregorio, born in May 1941 and Swedish clarinetist/pianist Christer Bothén, born in September 1941 one is tempted to say life begins at 80 plus.

Of course that’s not altogether accurate since Bothén has been active since the 1970s with players such as Don Cherry and Mats Gustafsson, while Gregorio has worked with innovators such as Steve Swell and Joshua Abrams. Both trios include associates who are decades younger than the clarinetists, though well acquainted with creative music. Each session features a solid double bassist– Damon Smith for Gregorio and Kansan Zetterberg for Bothén – and include equally unconventional percussionists. On L’invisible, Kjell Nordeson plays mostly vibraphone and drums in the final sequence, whereas The Cold Arrow includes no drum kit at all. Instead Jerome Bryerton’s percussion consists of Paiste bronze series gongs, selected metal and cymbals.

Hard bass stops and linear plucks mixed with abrasive arco rubs mark Smith’s strategy as the fulcrum on which “Planar Effect” titles in disordered sequence and two other tunes are created. Beside him Gregorio’s A and Bb clarinets expose a range of reed fluctuations that encompass squeaking yowls, altissimo glissandi, distorted growls, understated flutters and wide-open clarion snarls and slurps. The textures extracted from Bryerton’s percussion include extended gong resonations, ratcheting metallic abrasions, shrill whistles and bell ringing.

Although thin reed tones arch atop the others expositions, there’s enough timbral interlocking, as on “Planar Effect 4”, that a designated theme can emerge. Other times tandem displays are paramount. “No. 12x” for instance is built around mid-range harmonization from  Smith’s cutting sul tasto strings which pace the ascending spanks and smacks from Bryerton’s metal implements. Or as on “Planar Effect 9” when Gregorio’s high pitched doits and irregular squeaks make common cause with Smith’s taut strings as he stretches up and down the scale. While harsh and distorted textures are at a premium, there are enough moderated and cohesive timbres to suggest an undercurrent of horizontal evolution.

Although the Bothén 3’s L’invisible is divided into two elongated improvisions of around 20 minutes each, what is audible is arguably more of a Jazz connection than expressed by Gregorio, Smith and Bryerton. From the beginning suggestions of straight-ahead playing and even swing touches slip through the near atonal expositions. Notwithstanding a brief episode of vibrating piano strings in the penultimate minutes of “L’Invisible – Partie 2”, that hook up with regularized drum beats and an arco bass drone turn towards consonance. Other instances are Bluesy reed swells mated with ringing vibe resonation at the top of that track, as well as the final cadences on “L’Invisible – Partie 1” where a syncopated but not rote swinging meld of moderated bass stops and reed fluctuation are highlighted.

Other than that the improvisations judder with clarion squawks, mid-range slurs, chalumeau register snorts and strained tongue stops from Bothén. These widening motions are underlined by horizontal double bass thumps and resonating vibe textures that approximate tinkling bells. A crescendo is reached on the second track as an explosion of Nordeson’s prestissimo vibe strokes and Zetterberg’s sharpened spiccato string sawing attach themselves to irregular clarinet split tones leading to a distended multiphonic climax. Relaxing into regularized group patterning, a slide to reed flutters and a dusting of vibe tones confirm the discordant and near dulcet side of the program.

What is confirmed in these cases is that worldly musical improvising can come along with wisdom for players in their nineth decade. Despite a similarity in instrumentation, experience allows each to create remarkable and rare productions.

–Ken Waxman

Track Listing: Arrow: 1. Planar Effect 3 2. Planar Effect 8 3. Planar Effect 4 4. Planar Effect 2 5. Coplanar 4 6. Planar Effect 9 7. No. 12x 8. Planar Effect 6 9. Planar Effect 5 10. Planar Effect 7

Personnel: Arrow:  Guillermo Gregorio (Bb and A clarinets); Damon Smith (bass) and Jerome Bryerton (Paiste bronze series gongs, selected metal and cymbals)

Track Listing: L’invisible: 1.   L’Invisible – Partie 1 2  L’Invisible – Partie 2

Personnel: L’invisible: Christer Bothén (bass clarinet, inside piano); Kansan Zetterberg (bass) and Kjell Nordeson (vibraphone and drums)