Music Reviews

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Artist: Boris Hauf - Steven Hess - Keefe Jackson - Juun (@)
Title: Proxemics
Format: CD
Label: Creative Sources (@)
Rated: *****
When you'll listen to this release signed by these four talented improv musicians, who met each other as they worked together at the annual music festival Chicago Sound Map where they discovered they had some common interests in harmony, texture and rhythm explorations related to the musical possibilities enabled by collective improvisation which led them to Experimental Sound Studio in Chicago in April 2010 where they recorded this sonic stuff as part of the concert belonging to the Outer Ear series, you could easily enhance the listening experience they recorded through a possible research of similarities between their performance and the interesting matters related to the mentioned discipline, proxemics; they even quoted the diagram by proxemics'most eminent scholar (and founder), the American anthropologist Edward T.Hall to name their sets. According to this diagram, based on some concentric circles known as "reaction bubbles" whose radius represents the spacial distance between two people, social distance is correlated with physical one so that he distinguished intimate distance (for closer interactions), personal distance (friendly or familiar interactions), social distance (being between already acquainted people) and public distance (for public speaking between almost unknown people), whose measure should be strictly related to cultures, which state when an interaction could be too intrusive or stand-offish. The beings whose interactions seems to be studied are tenor and sopranosax played by Boris Hauf (recorded on right channel) and contrabassclarinet and tenorsax played by Keefe Jackson (recorded on left channel), whereas Juun's piano, Hauf's sinetonees and harmonium and Steven Hess' fuzzy experiments on drums and electronics look like acting as spectators writing notes on a sketch book or alternatively as choreographers of the dances, moved by the elastic forces getting stronger and stronger. In the first track, named Public, the longest one, the above-mentioned interacing sonic elements sound tracing completely different melodic paths, climb on discordant scales and sometimes look like dozing till the moment (after 22 minutes) when a sort of electronic foggy quiver looks like dropping the curtain on gaps whose voids had been filled by estranging or sinister emotional sets. In the second track, Social - the shortest one -, the magnet reducing distances seems to be breath and the frenzy percussive tinkling - mainly made up of high frequencies hits and feverish piano pulses -, whereas the final track, Personal (featuring some great drum rolling by Steven Hess!), sounds warmer than the previous ones since the very first seconds, thanks to the long-lasting hypnotical sound of an harmonium, but the general feeling of this bizarre but pretty recording will suggest the listener those two interacting elements aren't going to encounter even if they get chorally closer and closer.



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