Monday, August 3, 2020
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Artist: Elisabeth Harnik & Udo Schindler (@)
Title: Empty Pigeonhole
Format: CD
Label: Creative Sources (@)
Rated: *****
Schindler's list of appreciated musicians from international improv scene gets longer and longer. I'm not referring to Oskar Schindler, the notorious German businessman who saved a lot of Polish-Jewish peolple, whose biography became the plot for a likewise notorious Spielberg's movie, but to Udo Schindler, a sort of contemporary patron who hosts concerts in his own house in Krailling, a small town just outside Munich, together with talented musicians and composers of mainly free-jazz and improvisational scene every now and then that he titled Salon fur Klang + Kunst. "Empty Pigeonhole" is the first of a planned series of releases, where he recorded a live performance where he demonstrates his ability and versatility with different wind instruments (soprano saxophone, bass and contrabass clarinet, cornet) together with brilliant Austrian pianist and composer Elisabeth Harnik on a Pleyel piano. The most remarkable aspect of the two long sessions is the reciprocal understanding of the two musicians, but whereas Harnik's piano haul Udo's winds in the first piece by means of wonderful harmonic mutation where a Chopin-like melody could suddenly turn into a tangle of seemingly dissonant chords and winds splendidly echo and comply with whims on Pleyet with the nervous musical squabble between piano and cornet in the final minutes, the second track opens with flickering sonic objects and piano stings and proceeds over a sort of battle between clarinet and piano in order to lead the session, where the initial supremacy of clarinet got overwhelmed by crazy phrasing from Elizabeth's Pleyel which manages to downgrade clarinet to a dead beat breathe.


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