Italian pianist Alberto Braida in a duo with Netherlands bassist Wilbert de Joode, a set of freely improvised works of intense dialog both technical and sensitive, with a playful give and take that incorporates magnificent use of both players instruments.
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Label: Red Toucan
Catalog ID: RT 9332
Squidco Product Code: 9272
Packaging: Jewel Tray
Recorded at MU-REC studio, Milano on April 3rd, 2006 by Paolo Falascone.
Wilbert de Joode-bass
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• Show Bio for Wilbert de Joode
"Wilbert de Joode (1955) is a veritable research scientist of bass pizzicato and bowing techniques. A self-taught musician, he has been playing the double-bass since 1982. He began working in groups that improvised within a jazz framework. Other musicians were soon drawn to his idiosyncratic style, and in the mid 80s he played in groups led by Vera Vingerhoeds, Armando Cairo and Ig Henneman where he further developed his improvisation skills. He came into contact with such musicians as J.C.Tans, Rinus Groeneveld, Michiel Braam, Han Bennink, Han Buhrs (Schismatics) and Ab Baars.
De Joode is currently one of the most active bass players on the European improvised music circuit. His individual style and musicality transforms the double bass into an equal partner in the most varied ensembles. A personal tone colour, exploration of the outer registers, quirky improvisations and the use of gut strings contribute to an instantly recognizable and intriguing sound.
The seventeen improvised pieces on his first solo cd Olo (distributed by ToonDist) show how rich and complex his sound on the double bass is."-DOEK Festival Website (http://www.doek.org/project/wilbert-de-joode/)
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1. tassili 2:05
2. leprechaun 3:46
3. tobol 3:22
4. adrar 6:57
5. is it here? 3:42
6. wadi 13:16
7. ger 5:08
8. sonoran 4:44
9. dome c 2:05
10. tea time 3:16
sample the album:
"One of the many conventions subverted by music as open as this is the one of soloist and accompanist, and here piano and bass fuse in a way that lie outside of the tradition, even in any of its less inclusive forms. Both musicians are restrained in the sense that they're alert to the value of silence or near-silence, and the results are often marked by a certain angularity, as if each of them is over-compensating for the presence of the other.
That, however, is not a problem. On "Wadi," at thirteen minutes by some distance the longest piece here, the discontinuity of mood and level of input make for an intriguing whole. Alberto Braida's unassuming shards of piano notes work at odds but at the same time empathetically with Wilbert de Joode's arco bass.
The two minutes of "Dome C" find both musicians working with their instruments' extended vocabulary. Whereas in some instances this might be enough to guarantee a certain feeling of fatigue on the part of the listener, here it serves as another example of the diversity of territory the duo covers.
The understanding the duo has reached with silence is again apparent on "Tobol." They seem to court the idea of it as though it was the most seductive thing, before giving themselves up to Cecil Taylor-like dynamics, albeit with de Joode mapping out radically different territory to what Henry Grimes might have done in a similar context.
Set against this, the darkly elegiac "Adrar" could almost be the work of a different duo. Representing such a radical departure in comparison; such is the role of silence here that the duo could almost be said to have become a trio.
This is a recital the very diversity of which hints at whole other emotions by comparison with sets of free improvisation in which inspiration self-evidently flags, but of course that might be down to the very nature of the context in which the music is made. Here however the aesthetics of the free are reemphasized with unassuming vigor."-Nic Jones, All About Jazz
European Improv, Free Jazz & Related