HumaNoise Tutti cs402









HumaNoise Tutti is an opportunity to hear Rodrigues in a large group that’s not of his own devising—though there is often such complex and varied activity here, it would be misleading to evaluate it in the context of any one individual. The HumaNoise Congress is an annual gathering of international musicians in Wiesbaden, Germany, who over the course of several days play in every combination and as a group à la Derek Bailey’s Company weeks.

HumaNoise Tutti features three long performances of the full decet, which morph from clamorous counterpoint to restive drones to faint whispers and flits of sound. A rundown of the instrumentation gives an idea of the aural diversity: electronics, French horn, accordion, cello, extended saxophone, contrabass clarinet, double bass, viola, percussion, trumpet. There’s a broad range of musical experience and temperament here, though as with much modern free improvisation, close listening and the suppression of individual virtuosity in the service of atmosphere is the rule (although Souchal opens “Sunday Evening” with a lyrical and rather direct turn on trumpet). In the 21st century, we’re starting to see how lessons from the many “factions” of free improvisation that have arisen over the last 50 years might be pooled into a larger musical practice, one that transcends—or at the very least bridges—idiosyncratic philosophies, scenes, and techniques. Dan Sorrells (The Free Jazz Collective)