Matthew Bourne / Laurent Dehors

Alberto Braida Giancarlo Nino Locatelli

from here from there

WeInsist CD WEIN13

Contemplative but in some instances near-enervating sounds these duos probe the limits of piano-clarinet interaction. Milan-based pianist Alberto Braida and Bb clarinetist Giancarlo Nino Locatelli have been a duo for a quarter century as well as being involved in ensembles with Edoardo Marraffa and the Pipeline 8. Less frequent partners, French clarinetist Laurent Dehors is also part of Andy Emler’s groups while British pianist Matthew Bourne works with the likes of Franck Vigroux.

Spread over 16 (!) tracks, the Anglo-French iteration often harmonize. or at least is involved, in broken octave evolution. Frequent probes into the farthest reaches of their instruments involving, tinkles, peeps and slides don’t preclude continuum being maintained as well as coloration. With Bourne’s processional cascades frequently creating a forward-moving ostinato, Dehors’ reed takes on many sonic identities from nasal bagpipe tremolo (“Outré 1”) to woody, moderato swing tones (“M2). Most spectacularly on “For John” two reed timbres evolving simultaneously means one resembles melodic puffs and the other kazoo-like blats. He ups the ante on “Outré”, producing an unexpected triple-tongued output that sounds mid-way between a Hungarian tárogató and the Tibetan dungchen. Similarly Bourne’s playing which can slither from cerebral hunt-and-peck to formal, near-ecclesiastical chords usually twists and turns in the most connective and comfortable manner. This is most obvious on the long “Vox” and the extended and concluding title tune. Appropriately on the first Dehors’ vocalized sopranissimo weeping becomes part of Bourne’s gorgeous harmonic overflow as the tones circle and roll around one another. Disputing the title on the other hand, “A Place That Has No Memory of You” elevates gentle reed fills in octave jumps to a logical outcome after it challenges the waterfalls of expressive glissandi that sweep over Bourne’s exposition.

More low key and pastel, the replication of patterns and pitches, from here from there’s nine tracks just barely avoid the soporific, due to the skills and commitment of Locatelli and Braida. At best the contrapuntal kinship resembles early Dave Brubeck and Paul Desmond at their best. At worse lugubrious and joyless replace languid and jolly. Luckily that doesn’t happen too often. The most excitement is expressed on “Lucius” where Locatelli’s altissimo shrilling is affiliated with Braida’s swaying exposition and stops until key pumping creates cushion for the clarinetist’s doits and descends. Surrounding this track are “Campanile”, which resembles a moderated Broadway show tune and “Once It Was The Color of Saying” where Cool Jazz-like counterpoint is paramount as flutter tongued reed slurs and splayed keyboard patterning lead to a moderated conclusion. Illuminatingly these track clusters are on the latter part of the disc, which suggests it may have taken a while for the duo to establish proper parameters. Earlier tunes set up harmonies and forward ambulation, but even when chalumeau reed work or intense keyboard elaboration is present, excitement seems lacking. Notable for what it does project, the Italian duo is pleasant, but not earth-shattering. Neither is the other CD, but the Anglo-French offers more variety and assured commitment.

–Ken Waxman

Track Listing: Place: 1. Thème De Salomé 2. Dehors 3. Inside 4. M2 5. Outré 1 6. Knight Owl 7. Soliloquy 8. From Nature to Robots 9. Outré 2 10. Voix 11. Je Pense À Toi 12. Asphyxia 13. Outré 3 14. For John 15. Traces 16. A Place That Has No Memory of You

Personnel: Place: Laurent Dehors (bass clarinet) and Matthew Bourne (piano)

Track Listing: from: 1. C’è Un Luogo 2. Calamus 3. Counterpoint 4. Flatus 5. Ninna Nanna 6. Once It Was The Color of Saying 7. Lucius 8. Campanile 9. Tropus

Personnel: from: Giancarlo Nino Locatelli (Bb clarinet) and Alberto Braida (piano)