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the bias of the things

by duplant noyes chagas

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alasdair robertson
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wyskeu
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Released October 2011 on Ilse
www.ilsemusic.info/index.html

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released October 15, 2011

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Duplant - double bass, gramophone, radio, etc.
Noyes - inside & outside piano
Chagas - sax, clarinet

"Consider The Bias of the Things as a fresh tangent along the curve of contemporary composition and free improvisation. The five pieces are sufficiently spacious for the trio to hang their discrete sounds, as well as to occasionally rattle and roil like an updated entry in the Incus catalog [the affinity of Chagas’ reeds with that era of Evan Parker is self-evident]. When the trio incorporates strings attacked in every conceivable way, microtonal clarinet, and the warped audio of old ballroom recordings, as in the sly Tango For Small Things of Everyday Life, they bring forward the sort of low-fi gestalt heard on bassist Kent Carter’s essential 1976 document Beauvais Cathedral.

The pleasing, dislocating experience of listener uncertainty as to what precisely one is hearing, and what sound is issuing from whom, threads throughout the pieces. Chagas’ contributions alone are foregrounded, as he plays mainly within the range of his reeds made familiar by Lacy, Parker, et al. Duplant occasionally pushes his bass through a small Danelectro Honeytone amp, producing distorted timbres that supply the trio with grain and grit. This is my first encounter with percussionist Noyes’ piano work; happily in this context he approaches the piano chiefly as a percussion sounding board, inside and outside, both plangent and dulcet. Noyes is, as I have heard him be elsewhere, a sensitive and alert improviser, and sustains the trio atmosphere superbly.

So consider this dynamic trio’s work a fresh tangent, flowing from the dual tributaries of John Cage, and the animus of self-determination that informed small group improvisation on labels like Emanem and Incus. Derek Bailey, whatever one makes of placeholder names like his non-idiomatic improvisation, knew well the imprecision [including his own] encountered when one tries to articulate too fixedly what this sort of thing sounds like. Suffice it to say I find the trio’s branch of a very old tree bracing, owning a loving fealty to where it came from, and a determination to contribute to where this music is going." Jesse Goin - crow with no mouth

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