| Rules of Engagement, Vol 1 | |||
| The striking feature of the six duo
pieces (the last two tracks on the album are solo excursions) is how comfortable Dominic
Duval and Mark Whitecage are with one another - and with the music. Although ostensibly
composed by Duval, these pieces appear to be freely improvised, which for these two lions
is a deceptively simple task. The superb sound quality captures the depth of the acoustic
string bass, its rich, coated tones alternatively crying passionately and shouting for
joy. Mark Whitecage follows easily (or so it seems), superimposing a post-modern aesthetic
on a style deeply embedded in hard bop. Duval and Whitecage are two of the most experienced and proficient free-style jazz performers around (just listen to the two final solo tracks if you think this is an exaggeration), although you might not know it from their low profiles. Sometimes in a duo, diverse instrumentation helps to avoids monotony, but this one is anything but monotonous. Duval and Whitecage, who blows alto and soprano saxes and clarinet, are far-reaching explorers and close listeners who press parameters with a surprisingly urbane, tasteful sophistication that embraces a range of emotions in a refreshingly undogmatic way. The results range from a distinct set of chamber-like pieces that sometimes burn and at others wind interminably without ever quite reaching their destination. Those who spend the time to hear the nuances will be amply rewarded. Short on time, but long on distinction, this is one to savor. (3 1/2 stars) |
Steve Loewy |
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| Whitecage got his first taste of the future when he ran into Eric Dolphy back in the '50s. In subsequent decades he hooked up with reed players like Gunter Hampel and Perry Robinson, but didn't record much until he was closing in on his 60th birthday. He plays clarinet, soprano and alto saxophone. Duval is a bassist who has been showing up on record a lot lately. They've played together at least eight years, and the intimacy here is palpable. Whitecage's improvs are worked out with great care, usually at a deliberate pace, and make for fascinating listening. Duval is admirably supportive, then gets to close the album with a delightful bass solo. A- | Tom Hull |
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| A pesar de ser unos desconocidos a nivel
general, los nombres de Dominic Duval y Mark Whitecage resultarán familiares a los
aficionados al jazz dentro de sus etiquetas "free-jazz" o "new music".
Este támdem ha aparecido en los últimos años tocando en múltiples grabaciones. Ambos
estaban en la grabación que inauguraba el sello C.I.M.P. ("Free For Once",
1996), así como en otras de este sello. También en grabaciones del sello británico Leo
Records, GM, Red Toucan o en Acoustics (el sello del saxofonista Mark Whitecage). Ambos pertenecen a la escena free neoyorquina durante las últimas décadas. Mark Whitecage es un saxofonista que lleva en activo desde los años 60 y es uno de los músicos más minusvalorados en la escena post-free. Ha acompañando y grabado con músicos tan importantes como Eric Dolphy, Anthony Braxton, Paul Motian, Jeanne Lee o Dave Douglas. Dominic Duval, a pesar de rozar los cincuenta años, empezó a aparecer en grabaciones a su nombre o como músico de estudio en los años 90. Entre los músicos a los que ha acompañado, resaltar las figuras del gran Cecil Taylor (Qua'Yuba: Live at the Iridium) y de Joe McPhee en la formación Trio-X. Rules of Engagement Vol.1 es la primera de las grabaciones que a dúo tiene intención de editar el contrabajista en el sello Drimala. También es la primera ocasión en que ambos músicos han grabado juntos en formato de dúo. Así mismo este encuentro sirve como inauguración de la serie "The Art Of The Duet". Sus dos siguientes volúmenes lo emparejarán con el histórico saxofonista y cornetista Joe McPhee y con el trombonista Steve Swell, uno de los mejores en su instrumento en la actualidad. En la grabación aquí reseñada se nota la complicidad y la empatía nacidas fruto de las múltiples colaboraciones en diferentes entornos entre ambos músicos. Esto les permite improvisar con la libertad total y la placidez que proporciona el no tener que recurrir a los clichés que pudieran caracterizar algunas propuestas libre-improvisadas. Entre las composiciones del contrabajista, base del trabajo, se podrían resaltar "Rainbows Were Over," construída sobre el célebre "Over The Rainbow," " Marks On The Wall" o la preciosa "Beginnings" que abre el disco. Su duración, 48 minutos, tiene la virtud de dejar en el oyente (al menos en quien esto escribe) el deseo de querer escuchar más música de estos dos artistas. |
José Francisco Tapiz |
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| Bassist Dominic Duval is astonishingly productive in the studio, yet there's never a hint of the routine or mechanical in these beautifully paced duets, with Mark Whitecage an impassioned collaborator on clarinet, soprano and alto saxes. At between three and eight minutes, the eight tracks -- including a solo each to finish --- make for finely judged improvised statements. In addition to Duval's compositions, there is a version of "Over the Rainbow" -- "Rainbows Were Over" -- which writer Dan Warburton rightly compares to the 'referencing' of standards by Joe McPhee'sTrio X, featuring Duval. | Wire |
Andy Hamilton |
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| O primeiro volume de «Rules of Engagement» partilha-o o contrabaixista norte-americano Dominic Duval inteiramente com Mark Whitecage (o segundo já está anunciado, com Steve Swell e Joe McPhee à vez a seu lado). Tendo em conta que o discurso deste antigo parceiro de Cecil Taylor deve tanto à história do jazz como à música “clássica” contemporânea e que Whitecage é um herdeiro da “loft generation” nova-iorquina, não é difícil adivinhar os contornos do conteúdo deste álbum. Ainda assim, nenhuma impressão de “déjà entendu” (que me desculpem o jogo de palavras) nos assalta ao longo da audição deste interpelante duo. O Dominic Duval destas improvisações não é, decididamente, o do C. T. String Quartet, mais “clássico” e “experimental”, em simultâneo, ainda que revele semelhantes preocupações harmónicas e um lirismo acentuado - aqui, o que está em causa é mesmo uma versão actualizada do free jazz, consciente, sim, do que vem fazendo a “free music” na Europa, uma descendente daquela tendência da música negra americana que, entretanto, efectuou o “corte epistemológico” que a tornou independente, mas acentuando a sua natureza americana e fazendo as pazes com o passado. Pelo que aqui grandemente se confirma, o nervoso e inquisitivo Whitecage é um saxofonista e clarinetista injustamente ignorado - esperemos que desempenhos como o presente o projectem para alturas onde há muito deveria movimentar-se. Quanto a Duval, aqui temos mais uma prova de que já ocupou um lugar na primeira linha do contrabaixo: é impossível ficar indiferente às suas capacidades argumentativas, desafiadoras e reactivas, reveladoras de uma inventividade toda ela baseada no sistema nervoso, que não no cérebro. | (Portugal) |
Rui Eduardo Paes |
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| When one thinks of a bass duet record,
one expects dialogue with another rhythm instrument, if not another stringed instrument.
Bass-piano duos are not uncommon (Matthew Shipp-William Parker, David Izenzon-Joe
Scianni), but to hear the bass in conversation with a frontline instrument is rather rare.
Of course, matching of wits between two untempered instruments produces sympathetic
results: the ability to slide between notes and match harmonics is common to both strings
and reeds, so it should be no surprise that Dominic Duval's contrabass and Mark
Whitecage's saxophones and clarinets match up so well. Duval and Whitecage have been playing together for some 20 years, and though Duval has only been recording regularly over the last 15, a number of his sessions have been with Whitecage. However, Rules of Engagement is their first duo recording to see the light of day. Whitecage has historically been a rather 'unbridled' player; fast runs bent and jagged tones were the order of the day on recordings with vibraphonist Bobby Naughton in the late '60s and '70s (he plays a mean distorted basset horn on Understandings), and his alto flights were the standout on David Eyges' The Captain. Though in recent years he seems to have tempered the vicious tone a bit (not a bad thing), his flair for Dolphy-esque runs has not abated: witness the spiraling heights to which Duval's arco pushes him in "A Moment's Thought." The ability of his alto to move from smooth, liquid lines to jagged, gutbucket smears is also reminiscent of a less schizoid Byard Lancaster (it's probably no coincidence that a free version of "Over the Rainbow" is included here). Duval is an amazingly propulsive player; in this context, one might expect somber bowed lines or gimmicky technical flash, but as with William Parker, kinetics and strength more than make up for the lack of an obvious 'beat.' On the boppish "Snap Judgement", for example, all motifs point to what could be a great alto-bass-drums romp, but for the effortless swing that these two create needs no backbeat. One of the most noticeable aspects of this session, however, goes somewhat beyond the actual improvisations: the recording quality is superb, capturing every bit of horsehair-on-string or string-to-wood detail in Duval's bass playing. Whitecage's clarinet retains its woody quality, and no unintended shrillness befalls his saxophones. Speaking as one who prefers the analog warmth that LPs offer, this disc is right up the audiophile's alley. Plus, in an age of super-sized album lengths and the filler they engender, Rules of Engagement clocks in at a perfectly-rounded 45 minutes. If the task of creating a compelling reed-bass duet session fell to a slightly less well-matched pair than these two, the subgenre might befall the same wallpapery fate as so much lightweight chamber-jazz free improvisations. However, in the hands of Duval and Whitecage, the bar has been set very high. It is now up to the next pairing to maintain the pace set by this first installment of the Rules of Engagement. |
All About
Jazz -- NewYork |
Clifford Allen |
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| A duo who will irradiate your listening
space, Duval and Whitecage talk a highly personal lingo on bass, clarinet and sax, totally
free from jazz cliches and absolutely liberated from nicotinic formulas. Like two
nightbirds having a conversation, Mark and Dominic are fully conscious of the ongoing
process yet they're gifted with a fantastic sense of improvisation on the melody; they
create a cohesive pellicle which empties the music of all the useless air bubbles, going
straight to the deepest core of interplay and seaming their lookalike souls into an
indivisible unity. Under the guise of simple forms always lies a bag of multiple concepts that only ask to be carried to perfection. The two are certainly up to the task, as each of the tracks contained in "Rules of Engagement" is part of a whole that translates into an excellent record in both musicians' career and this label's consistent output. |
Massimo Ricci |
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| Dominic Duval and Mark Whitecage have
worked together before – State Of The Art and Free For Once are
effective representatives of their shared craft. Both are visionaries and neither is bound
by the known or the expected. They explore opportunity and in doing so usher a sense of
adventure into their music. Twists and turns that seem to come out of the nowhere showcase the versatility and the elasticity of their approach. These traits are strongly evidenced in the aptly named “Snap Judgment” with Duval setting it up on the bass through quick scampers, a slowing down of the rhythm on which Whitecage comes to sail. At first call the sax man is linear in approach, but the waves and warps come in and roll along with the turmoil of the bass. The beat undulates and changes course on the sharp shards that Whitecage jettisons before he finds the loop of a Middle Eastern melody. But if that were not enough he bops with hard edged notes before Duval takes the tempo into swing time. Every move has been a smooth one. “Beginnings” casts its mark quite differently. Duval and Whitecage run patterns around each other, playing follow the leader and tag in a seamless skein proving their affinity and their sense of understanding, attributes given another enticing exhibition on “A Moment’s Thought.” Duval feeds on a large terrain. His sense of timing, for one, is not only impeccable, it is delightful. He can ride the swell of an idea and then drop it into a heated cauldron the notes scurrying and singing in animated splendor. Just as surely he reins them in and repose calm in his ministrations. All this is brought to the fore on his solo turn. Whitecage interweaves several ideas as he exposes the tonal dimension of the clarinet. They jump out of the framework and nestle in, fluidity abutting short jabs, melody encountering atonal declaration, point and counterpoint completing the picture. This is a persuasive and stimulating engagement. |
Jerry D'Souza |
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| As the title of this release indicates,
this is volume one in creative music label Drimala Records' series of duet recordings
featuring the brilliant bassist Dominic Duval. For this first installment, Duval is paired
with the frustratingly overlooked reedist Mark Whitecage. Throughout, these frequent
collaborators engage in a series of intimate performances that capture plenty of fire, as
well as rich lyrical beauty. The compositions, all by Duval, cover a great deal of ground
and draw upon both artists' styles and experiences. Best yet is that the tracks are terse
and concise rather than lengthy explorations that can cause the mind to wander; Duval and
Whitecage say what needs to be said and don't waste notes or time. Duval should be no stranger to those following the scene, as he is by far one of the music's busiest practitioners. Since the late 1990s, this catalyst has been demonstrating why he is such a valuable player in the improvised music world. He possesses a remarkable technique, a hybrid of his classical inclinations and spirited improvisatory nature that also welcomes sincere lyricism. His fleet, acrobatic lines and ardently conversational approach are put to great use in this context. Whitecage has been involved in a wide variety of playing experiences, including work with Gunther Hampel, Jeanne Lee, Anthony Braxton, the Fonda-Stevens Group and Paul Motian, as well as several releases as a leader. He firmly demonstrates his proficiency on a variety of instruments, including alto and soprano saxophones, as well as clarinet. This range of instruments from his arsenal serves a welcome series of timbral contrasts to keep the listener engaged. Duval's compositions are mostly loose constructions, blueprints even, for the duo's improvisations. The appropriately titled "Beginnings", perhaps an ode to the road that they have traveled both together and apart, starts the proceedings in an even-paced fashion. Whitecage goes with the clarinet here, where his dark-hued, woody tone works well with Duval's engaged pizzicato lines. Almost from the start, these two demonstrate their prodigious technique, as well as seamless interplay, obviously garnered from many joint ventures. Whitecage's main instrument, the alto saxophone, is utilized next on "A Moment's Thought", with his bright, cutting lines contrasting with Duval's elongated and dancing arco. The intensity builds slowly and rises and falls throughout, with Whitecage's full, effulgent sound ringing through. Worth noting is that one would be hard-pressed to say that any of the performances here "swing", however this influence is a factor in the results. A good example is "Snap Judgment", which features Duval's ribbony punctuations and Whitecage's thematic lines. Likewise, "Katherine's Song #4", dedicated to the memory of Duval's late wife, features intermittent walking by Duval as Whitecage matches this approach with darting, almost bluesy lines on his soprano. Another delight is "Rainbows Were Over…", based loosely on the familiar themes of Harold Arlen's gem, which allows these collaborators to put their spin on the well-known melody. Finally, Duval is simply inspiring on "Marks On The Wall", where he has an active workout, even incorporating slapping techniques and his bass' body into the performance. The record concludes with two solo pieces. Whitecage's solo recital, "Solo Clarinet", captures his deep moodiness perfectly, as he concentrates on the lower register to evoke contemplation, while at the same time, showcasing his rhythmic mastery. Duval's piece, "Solo Bass", as one might expect, highlights his considerable dexterity and soulfulness. Despite the expectations of a relatively limited sound spectrum, the shared virtuosity, the diverse compositions and Whitecage's array of horns allow for both a varied and engaging program. One can be certain that Drimala's promised volumes two and three, collaborations with Joe McPhee and Steve Swell, should signal good things to come. |
Jay Collins |
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