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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) |
All
Music Guide
Steve Loewy |
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Há a tendência para
considerar que a improvisação musical a dois é o equivalente na arte dos
sons a um simples diálogo falado, uma conversa. A analogia é simpática e
tornou-se, até, num lugar-comum, mas não corresponde inteiramente à
verdade, até porque os músicos intervenientes, para todos os efeitos,
“falam” ao mesmo tempo, o que é muito improvável que façam com palavras.
Pois a americana Drimala Records vem explorando a arte do duo em discos
de máxima relevância, e este é um deles. O próprio Dominic Duval,
contrabaixista com físico de “boxeur” cujos braços fazem dois ou três da
maior parte de nós em diâmetro mas é um dos mais sensíveis executantes
deste instrumento na actualidade, tem explorado a fórmula à saciedade, e
quem esteve no Luso Café há uns tempos a vê-lo e ouvi-lo tocar com
Carlos “Zingaro” assistiu ao vivo a um dos melhores momentos desta sua
aposta. Outro está aqui, com o saxofonista e clarinetista Mark Whitecage,
talvez o mais coerente herdeiro da “loft generation”. Se a capacidade de
ouvir o outro é um dos requisitos fundamentais do acto de improvisar, é
precisamente nesse ponto que nasce a excelente música documentada nestas
faixas - no facto de que “ouvir o outro” não é simplesmente ir atrás
dele, colando um discurso a outro num primarismo reactivo que só pode
tornar-se redundante e limitador. Um dueto improvisado é muito mais um
jogo do que uma conversa, e nele há mais “rasteiras” do que em qualquer
debate sobre política ou filosofia, ainda que no bom sentido. Desafia-se,
armadilha-se, faz-se o inverso do que antes se prometeu, procura-se uma
fugidia coincidência de ideias apenas para justificar a recusa da
unanimidade. Não é um braço-de-ferro, propriamente (outro estereótipo),
mas também não é a paz que se deseja. O duo é sempre a representação de
um conflito amigável, e só resulta quando não há um único vencedor no
fim. Num contexto indubitavelmente mais jazzístico do que o das suas
formações de cordas de cunho“europeu” e camerístico, o antigo
colaborador de Cecil Taylor encontrou em Whitecage alguém que não está
disposto a facilitar-lhe a vida. Para bem de quantos agora os escutam. |
Rui
Eduardo Paes |
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Free
Jazz at it’s best can bring with it tremendous rewards for both
musicians and audience, and whilst often perceived as difficult
music by a casual listener who is unwilling to put in sufficient work to
find a way into the music. But this is not just true for Free Jazz, but
rather any music that one is not prepared to approach with an open mind
and ears, but perhaps this is a topic best dealt with elsewhere and at
some other time.
However
on the basis of my opening paragraph this set of duo performances should
fall under the definition of difficult music, but in reality is a
totally absorbing album that drops anchor in enough musical ports along
the way to provide a degree of accessibility to most listeners. All the
pieces are relatively contained and thus get to the heart of the matter
with very little in the way of preamble, with the two protagonists
having played together often over the years and are so familiar with
each others playing that they have the ability to react quickly to
emerging ideas and have the ability to self-edit off the cuff.
Duval’s
playing is quite simply awesome. From full on assaults on the bass,
always precise and exhilarating; to his quieter more reflective and
lyrical moments, as on the introduction to the beautiful ‘Katherine’s
Song #4’ and the subsequent dialogue with Whitecage’s soprano. His arco
playing on ‘Rainbow Were Over’ (Duval’s perceptive and altered take on
‘Over The Rainbow’) brings out the sonorities of the bass in a
hauntingly delicate manner.
Of
saxophonist Mark Whitecage, well…he is a revelation! I have heard
relatively little of his output until this disc arrived, and from his
opening clarinet on ‘Beginnings’ I was captivated. That lovely full
woody sound in the lower register, and a tender purity in the upper,
coupled with a lyrical and melodic line that has you following its
development with anticipation. This line of thought is also given full
reign on the equally splendid ‘Solo Clarinet’ in which Mark has you
hanging on to every note.
Whitecage’s alto playing by contrast, can be more fractured as on ‘A
Moments Thought’; whilst elsewhere he brings more straight forward
delivery and development to proceedings as with his playing on ‘Snap
Judgement’ and in the solid groove based ‘Marks On The Wall’.
This
superb set concludes with two solo pieces, the aforementioned ‘Solo
Clarinet’ and closes fittingly enough with ‘Solo Bass’ from Duval. A
chance to hear that beautiful tone that he elicits from his instrument,
and to study some of the methods employed throughout the previous
performances at close quarters.
Recommended without reservation to converts of the genre, and yet an
album that has enough to appeal to those who have yet to fully commit to
this method of music making. |
Jazz Views
Nick Lea |
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È da lungo tempo, fin dagli anni `60, che Mark Whitecage suona come
sideman in gruppi che si sono dedicati al free jazz al di qua e al di là
dell´Atlantico. Ha lavorato con musicisti americani come Perry Robinson
e Jeanne Lee, ed europei, come Gunter Hampel. Negli ultimi anni è
apparso in diverse produzioni della CIMP, sia da sideman, come nel
quartetto del sassofonista contralto Marshall Allen, che come leader.
Dominic Duval si è fatto conoscere insieme a Cecil Taylor e di recente
si è ritagliato un importante spazio nella scena musicale contemporanea
con il Trio X insieme a Joe McPhee e Jay Rosen.
La musica di questi due esponenti del free è senza compromessi e - per
chi le dedica un attento ascolto - capace di comunicare le tante cose
che si sono sviluppate nei decenni di amicizia e di session fatte nei
club che danno spazio a questa musica.
Si avverte subito la schiettezza dei suoni dei loro strumenti, il loro
dialogo privo di retorica, concentrato, senza interruzioni alla ricerca
della prossima idea da sviluppare. Sia al clarinetto che al sax alto
Mark Whitecage comunica una saggezza che gli viene dal suo passato ed
una forza che difficilmente si immagina in artisti della sua età.
Dominic Duval lo incita a dare il meglio di sè stesso mentre interpreta
le composizioni - tutte del contrabbassista - con il suo pizzicato
possente o con il suo archetto capace di creare suggestioni molto forti.
"Rainbows Were Over" è una reinvenzione - alla maniera dei boppers - di
"Over the Rainbow". Ci sono tanti momenti di altissimo livello in questo
lavoro, ma qui i due raggiungono il vertice. Riescono senza problemi ad
evitare di cadere nello sdolcinato e di distruggere la bellezza della
melodia di partenza.
Un dialogo senza retorica e proprio per questo con un suo fascino che ci
riporta all´essenza dell´espressione strumentale.
Valutazione: * * * * |
All About Jazz - Italy
Vittorio Lo Conte |
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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. |
Toma Jazz 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. |
The Wire
January
2004 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. |
Eduardo Chagas |
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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
(January 2004) 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. |
Touching
Extremes 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. |
All About Jazz 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. |
One Final
Note
Jay Collins |
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