Urs Leimgruber / Jim Baker / Jason Roebke

Lauroshilau

Live at Padova

el NEGOCITO Records eRN098

Entwining the timbres from a single saxophone with the electronic programs of a synthesizer is the preoccupation of these sessions and multiple other free improvisers. While both involve a trio, each CD is individually engrossing since the choice of partners, length and conception-creativity is singularly fitting. Lauroshilau involves three Belgian sound explorers who founded the trio in 2013, and have played often in this configuration. Members are alto saxophonist Audrey Lauro, who has recorded with Giotis Damianidis among others; percussionist Yuko Oshima who plays in duo with Eve Risser; and Pak Yan Lau, whose expertise interpreting material on toy pianos doesn’t preclude her using synthesizer and electronics on Live at Padova. Chicagoan Jim Baker plays piano on one brief track of Elastic, but most of the disc is given over to his inventive synthesizer work. He and bassist Jason Roebke have recorded with numerous international players and, are joined by Swiss soprano saxophonist Urs Leimgruber, known for his trio with Barre Phillips and Jacques Demierre. Familiarity breeds assurance as the Belgian trio members blend singular tones into a constantly vital, 42 minute program of group creativity. A first-time recorded meeting, Elastic allows space for individual expression.

Lauro’s stinging reed whistles matched with shuddering oscillations from programmed electronics, initially expand the atmospheric exposition that is steadied with tick-tock drumming. Then as percussion rumbles and cymbal pings become intermittent, clarion reed textures turn more rugged and grainier before thinning to balance on top of undulating synthesizer drones. This reflective respite is interrupted by super-speedy reed split tones which are contrapuntally challenged by kettle-drum-like crashes and the first instance of refractive toy-piano clatters, These mini-plinks challenge the saxophonist’s dyspeptic snarls until the two engage in a pseudo duet of ping-pong like echoes from Lau and vibrated flutters from the saxophonist, nudged to a mid-point climax by Oshima’s intelligently emphasized rattles. Maintaining the introduction’s slow pace the three-part dialogue also showcases individual contributions. Lau’s simultaneous oscillation of a menacing synthesizer drone meshes with dissected wooden key plunks stands out beside moderated air blowing peeps from the saxophonist and textural throbs and chain rattling from the drummer. As distinct as these brief forays into singular definition are they never disrupt the melded narrative, which in the final section packs together busier and thicker textures that fill the improvisation so that it become almost solid without instrument differentiation. Separate cymbal slap and reed peeps signal the group finale.

Putting aside the brief acoustic piano clipping, double bass shaking and slim reed puffs interregnum, the other CD offers an antithical strategy to the electro-acoustic mix. It also divides its elaborations into two tracks that together are the length of Lauroshilau’s one. “Red Flow” can be thought of as a sophisticated work out of ideas expressed in greater detail on “Blue Bird’s Eye.” On the first Baker’s undulating synthesizer timbres become more pressurized and tremolo as they blend with Roebke’s sul tasto swells. Similarly the bassist’s low-pitched strokes ratchet across the string in counterpoint with Leimgruber’s lip peeps, tongue stops and splayed twitters. Finally the keyboard/string harmonies are concentrated as the saxophonist explores his horn’s lowest register with unexpected moos and baas. Narrower and with more silent pauses, “Blue Bird’s Eye” is quickly catapulted from a duet of aviary reed squeaks and double bass vibrations to accordion-like dot-dash inflections from the synthesizer that oscillations as Leingruber’s intersectional spacey tones run from high-pitched peeps to harsh honks. Focussed drones propelled by the bassist’s woody string pops from and the synthesizer’s tremolo modulations create an undulating backing upon which the saxophonist displays extended technical variations. Moving quickly through watery reed flutters, expelling of air through his horn’s body tube without key movement, Leingruber arrives at thin yelps and strung-together alternating split tones and smears. The stridency advanced in the previous sequences reach a climax in the final one in a snatch of circular breathing from the saxophonist. Tripartite strength established, the machine programmed continuum fades away along with reed flutters and bass string taps.

Satisfying electric-acoustic rapport is attained on both these discs. As the palate of improvised music continues to evolve very soon the journey and conclusion may supersede discussion of which sound creators produced which program.

–Ken Waxman

Track Listing: Padova: 1. Live at Padova

Personnel: Padova: Audrey Lauro (alto saxophone and preparations); Pak Yan Lau (toy pianos, synthesizer and electronics) and Yuko Oshima (drums)

Track Listing: Elastic: 1. Red Flow 2. Green Room 3. Blue Bird’s Eye

Personnel: Elastic: Urs Leimgruber (soprano saxophone); Jim Baker (analogue synthesizer and piano) and Jason Roebke (bass)