Itinerant cs472









Veterans, Iowa-based bass and contrabass clarinetist Michael Lytle, hyperpianist Denman Maroney and percussionist Stephen Flinn have been involved in this sort of boundary-pushing investigation for many decades having worked with a orchestra-sized cast of musicians, including Nick Didkovsky, Cecil Taylor, Gerry Hemingway, Steve Beresford and Caroline Kraabel to pick a few at random. Many decades younger the Sundogs started improvising a time where electronic and free music, to which the Yanks contributed developments, was as present as Bop or notated sounds. Wroc?aw-based clarinetist and bass clarinetist Mateusz Rybicki has been working in ensembles with bassist Zbigniew Kozera since 2012. Both have also played with the likes of Peter Brötzmann, Dominik Strycharski and Wac?aw Zimpl. Equipped with percussion, objects, prepared oven-tray, electronics, cymbals, drums, environment, Samuel Hall is a European-based Melbourne native who besides working with dancers and visual artists has played with Adam Pultz Melbey and Akira Sakata among others. Whistling percussion, thin watery reed sips and amplified dissonance from the hyperpiano’s strings serve notice from Itinerant’s first untitled rack that the diversified improvisations have been put together further past even the conventions of Free Jazz into the realm of Free or even absolute Music. Without false virtuosity however, the suggestion of at least two or three more voices beside the trio’s initial sounds are heard or sensed throughout. Occasionally a pleading clarinet peep or coloratura reed strut, a cymbal slash or the buzz of stopped string and picked keys resolve an instrument’s identity. But just as often a timbre could result from the movements of either of at least two players. While the exposition may be stretched thinner and thinner the blurry mass resulting defines group or selfless music making. Eventually after some reasonable tone separations have been probed, the trio reaches a climax on the final track. Subtly set up, swift, sharp string strums and key clicks, percussion clanks and later clarinet squeaks and snorts, a defining pure tone from the clarinet dissolves into the droning linkage, and then jiggles into silence. […] they confirm that tone recognition doesn’t necessarily have to exist for superior programs. Ken Waxman (JazzWord)