Ned Rothenberg / Sylvie Courvoisier / Julian Sartorius

Trió Contraszt

Cryptic Scattered Images of the Forgotten

BMC CD 290

Matching keyboards, reeds and percussion so as to wring maximum textures out of an ensemble was the genesis of these trios. The all-Hungarian Trió Contraszt moves between inferences from distinct styles and improvisations that are expanded with the saxophones, clarinets and flute of István Grencsó; the percussion of Szilveszter Miklós; and composer Stevan Kovacs Tickmayer multiple keyboards and processing construction. A set of instant compositions from all involved, Lockdown finds two Swiss players, pianist Sylvie Courvoisier and percussionist Julian Sartorius, partnering with American multi-reedist Ned Rothenberg.

Already an established unit, Trió Contraszt shades its nine tracks with multi-instrumentation that doesn’t preclude moderated and slippery acoustic piano story telling from Tickmayer or sequences of Grencsó’s reed configurations. This is first obvious on “Dark Ramifications” where intense piano strokes meet tough tenor saxophone slurs for a Magyar variation of a 1950s swing-soul session. At the same time Tickmayer continuous interpolation of Hammond organ tremolos, electric piano tickles and a veneer of synthesized glissandi confirms the band’s versatility and modernity. There are other affirmations throughout. Languid expositions such as “Nocturnal Zones” and “Night Song of Icicles on the Banks of the Danube” are treated less than conventionally. The second moves kinetically from an acoustic reed vibrating movie theme-like overlay to explode into Aylerian shrieks and snarls. Meanwhile “Nocturnal Zones” vibrates from passive keyboard layers to rocking piano vibrations mixed with hard flute peeps and climaxes with such a rhythmic push that Miklós could be playing a drum machine.

Other tracks have programmed wave forms lurking in the background; expositions that encompass prepared piano vibrations, rickety-tick parlor pseudo ragtime; and a sequence where organ timbres are more roller rink than rock connection are made and overcome. The Ragtime suggestions come at the end of sequences that have previously related to sped up Bebop splashes and are appropriately complemented by two-beat drumming and near-Trad Jazz soprano sax slurs. However the group comer across best when it concentrates on a single theme and let suggestions of Eastern European dance rhythm sneak though. Jolly “Passamezzo zoppo” for instance is propelled with piano arpeggios, organ judders, harmonized sax tones and a shuffle beat sounding like what would result if Frank Zappa’s instrumental rock was played by a Hungarian band. The same shuffle beat permeates the concluding “Trash Tango”. But this burlesque tango alternates with quotes from “Turkey in the Straw” and the “Mexican Hat Dance” as the jerky narrative progresses in stop-time and concludes with echoing harp-like glissandi. .

There’s nothing that out-of-character on Lockdown, with the three participants committed to probing improvised music. Textures during the eight selections aren’t stark however, with connections sometimes harmonized. Also here it’s the woodwind player rather than the keyboardist who adds variegated tones, since Rothenberg plays alto saxophone, clarinet, bass clarinet and shakuhachi. Each has its place. The last reed is used for melodic coloration on the first and final track creating tonal slides and emphasis alongside the methodical or circular elaboration from the pianist. Meantime the drummer, who has collaborated with Courvoisier in the past when she isn’t playing with Mark Feldman, knows exactly when to shuffle his cymbals or rattle the snare for added accents. In contrast tracks such as “Quarantina” and “Popcorn” maintain their horizontal affiliation in spite of roughened tongue slaps or squealing altissimo trills from Rothenberg’s saxophone. What that means is the piano conceives of fragmented and quicker keyboard criss-crossing to join in on the former, while string plucks and stopped keys are used to add harmony to thin reed puffs on “Popcorn”. Rothenberg, who over the years has partnered with unique innovators like Sainkho Namtchylak offers his most evocative playing on clarinet. “Requiem d’un Songe”, is particularly notable as his chalumeau register vibrations evolve in broken octave concordance with Courvoisier’s keys plinks ascending from adagio to allegro as they cement the theme. As gouts of piano glissandi illuminate the background he pushes forward with flutter whorls and cascades as Sartorius’ pops and rebounds finally set up a finale of recital-ready piano tinkles and sweet clarinet burbles.

While one would wish there were fewer keyboards in use on the Hungarian CD to allow more space for the woodwind player and acoustic piano, overall both that disc and the other capably define the heights that can be attained in trio interaction.

–Ken Waxman

Track Listing: Cryptic: 1. The Garden of the Wizard (In memoriam Márta Kurtág) 2. Dark Ramifications 3. Different Divisions and Rags 4. Night Song of Icicles on the Banks of the Danube 5. Passamezzo zoppo 6. 6. Sinbad Waltz 7 Nocturnal Zones 8. In the Garden of the Wizard 9. Trash Tango

Personnel: Cryptic: István Grencsó (tenor and soprano saxophones, clarinet and bass clarinet, flute); Stevan Kovacs Tickmayer (piano, prepared piano, Hammond C-3 organ, Fender Rhodes 73 piano, v-instruments, sampling and sound processing, e-guitar and e-bass) and Szilveszter Miklós (drums and percussion)

Track Listing: Lockdown: 1. La Cigale 2. Outlander 3. Requiem d’un Songe 4. Deep Rabbit Hole 5. Quarantina 6. After Lunch 7. Popcorn 8. D’Agala

Personnel: Lockdown: Ned Rothenberg (alto saxophone, clarinet, bass clarinet and shakuhachi); Sylvie Courvoisier (piano) and Julian Sartorius (drums and percussion)