Phil Durrant / Emil Karlsen

Among his other achievements as a Free Improviser which stretch back to the late 1970s, Phil Durrant now introduces another. Playing the common doubled metal stringed mandolin he produces a sound almost identical to the spiky, microtonal jangles pioneered by Derek Bailey’s guitar. Ably partnered by percussionist Emil Karlsen, the two extended live improvisations from London are both timeless and original. Moreover they could fit on discs recorded in 1969 as easily as 2020.

Classically trained as a violinist, Durrant has also utilized software, synthesizers, samplers and live electronics over the years in ensembles featuring everyone from Bertrand Denzler to Mark Sanders. But this appears to be his debut as a mandolinist. Approximately four decades Durrant’s junior, Norwegian-born Karlsen plays with fellow sound explorers of many generations including Mark Hanslip and Phil Wachsmann.

As with most choice free improvisations the elation that results from close listening to these tracks involves following each musician’s reasoning and strategies. With both tracks clocking in around the 20-minutre mark, fascination results from coordination and challenges coming from either side. Decisively the mandolin’s taut strings are designed for sharp twangs, bottleneck-like stings and slippery slides down from the tuning pegs. Meanwhile wood block resonation, hanging chime echoes and bass drum accents are part of Karlsen’s strategy. What that means is that on the first track for instance, Durrant’s strokes are as percussive as the drummer’s blows, while Karlsen’s indirect idiophones emphasis is as much part of the story telling process as mandolin licks. Even as animal burrowing suggestions from both darken some interactions, the blend of ringing string frails and whistling brush work bring out the track’s narrative airiness.

The game plan is similar on track 2, though the enthusiasm level is heightened by Karlsen’s emphasis on chimes’ and cymbals’ clangs and rebounds and Durrant’s rhythmic strumming and palm drumming on mandolin strings. These plectrum thrusts, positioned squeaks and flanges are matched by clashing metal as the sequence reaches a crescendo one-third of the way through the track. Creating more abstract timbres through string detuning and hand chokes on taut strings, Durrant’s licks become thinner and denser. As Karlsen simultaneously weaves castanets-like claps, gong-vibrations and drum-top whacks into a contrapuntal reprise, the sequence finally fades with an appropriate plink and slide down the strings.

While it will be fascinating to hear what this duo and other avant-mandolin explorers conceive of in the next little while, what’s for certain is that this Grain will likely not be proper fodder for Bill Monroe fans.

–Ken Waxman

Track Listing: 1. Live at Iklectik 2. Live at Hundred Years Gallery

Personnel: Phil Durrant (mandolin and octave mandolin) and Emil Karlsen (percussion)