Through extended approaches to their instruments, Lebanese saxophonist Christine Abdelnour and NY drummer and slide clarinetist Chris Corsano create anomalous and unorthodox sound environments, Abdelnour making acoustics sound electronic through growls, smears and odd harmonics, while Corsano abuses an impressive palette of sound from every inch of his drums.
Format: CD Condition: New Released: 2019 Country: USA Packaging: Digipack Recorded at AudioCue, in Berlin, Germany, on August 5th, 2017, by robin Robben.
3. Sitting Still While The House Next Door Burns 9:15
4. Below The Hull 5:05
5. The Mended Lid 8:05
6. Sixth Hinge 4:37
7. Old Tales 3:15
8. Every Extra Thing 6:24
9. Omit The Ninth Row 7:09
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descriptions, reviews, &c.
"Two new very inspired works released by Relative Pitch Records. Both are in memory of co-founder of the label Mike Panico, who tragically died last year. Hopefully, his mate Kevin Reilly will succeed in finding a new companion for continuing this label that has an excellent taste for improvised music. These two new releases may serve as further proof of this.
[...]
With Quand fond la neige, où va le blanc? we are in the company of two other improvisers that are new to me: Christine Abdelnour and Chris Corsano. Abdelnour is of Lebanese origin, living and working in France. Since 1997 she is mainly active as an improviser involved in sound experimentation using sax more or less only. From what I could trace she mainly works solo and developed that way her very own musical language and procedures. Chris Corsano is a drummer from New England who works in the contexts of collective improvisation, free jazz, avant-rock, and noise music. He worked a lot with saxophonist Paul Flaherty, Thurston Moore, Nate Woolley and many others.
From their duo effort, I learn that Abdelnour is an extraordinary player, who creates a unique sound world by just playing her saxophone without electronic gadgets, although it sounds sometimes as if she using some. Listen for example to the opening section of 'The Mended Lid'. She developed her very own handwriting, using extended techniques, in order to create fascinating sound textures that are very subtle and nuanced. "She employs subtle tonguing techniques, unpitched breaths, spittle-flecked growls, biting, slicing notes and breathy echoing sounds from the bell of her horn." Because she is more into sound than into structure the improvisations were sometimes a bit monotonous for me. But they are also very nice passages to be enjoyed where both players are equally engaged in a musical dialogue, like in 'Sixth Hinge' or the jazzy improvisation 'Every Extra Thing'."-Dolf Mulder, Vital Weekly