feature photo: Veronique Hoegger
Sylvie Courvoisier and Mary Halvorson make up one of those rare, erstwhile duos that take big steps forward each time they get together. The pianist and guitarist, respectively, create a buzz in the jazz world when they do, largely because of their reputations as solo artists. But now with their third collaborative album having landed, the duo has become an entity that’s a major force unto itself.
Bone Bells (Pyroclastic Records) is an evolution from two strongly distinctive voices to a single, singular voice, making music that’s relentlessly modern and creative, and aside from the obvious ‘modern creative music’ label, it’s nearly impossible to slot this music into neat categories. The combination of their un-replicable sounds has been elevated to be the prime feature of their partnerships> The solos — while still present and accounted for — aren’t the prime draw; the blending of their styles is.
It’s not just any piano/guitar blend, they’ve managed to raise the stakes for their third get-together. The two masters at willing their respective instruments into unfamiliar sonic territory are now applying that special skill into forging a singular piano/guitar reverberation that’s like none other. As both are accomplished, forward-looking composers, they bring the complete package in carrying out a conception that can’t come from anyone else.
A prepared piano is played on “Folded Secret,” a mechanical figure that makes it sound almost like a computer-generated programmed bit. But when Courvoisier indulges in right-hand adventures, it creates a clash of the loose with the taut that makes the piece compelling. “Nags Head Valse” is a twisted waltz, and includes a brief breakdown when both sprinkle around clipped notes. Halvorson’s “Beclouded” like Courvoisier’s “Nags Head Valse” has a wide, circular figure that’s like going up and down stairs.
Courvoisier is already an audacious performer but she’s rarely shown the temerity that she has here, and it’s one of the most enjoyable aspects of this album. “Bone Bells” may move slow but eventually she ignores the unhurried pace and goes for the jugular, breaking free from constraints and conventions. Courvoisier machete attacks “Esmeralda,” then dramatically pivots to fragility and back again to assertiveness. Halvorson hangs back in a comping role, finding spots to enrich the harmonics.
There are unexpected sounds erupting from both piano and guitar throughout but “Silly Walk” has more than the usual share of them; the ‘anything goes’ energy is expended with the strong connection between the two remaining intact. Halvorson artfully uses echo and pitch-bending effects on “Float Queens” to shower down chords like a full ensemble, a song also marked by attractive guitar/piano lines.
“Cristellina e Lontano” is the closest they come to placing individual performances (which are superb, by the way) over united performance, but even here are a couple of head-spinning moments remindful of a Chick Corea/Gary Burton unison run.
The third meeting of the current foremost visionaries on piano and guitar is more than ever a meeting of masterful musical minds. Sylvie Courvoisier and Mary Halvorson keep finding new vistas for exploring what is possible from the combination of these two instruments.
Bone Bells is now available, and one place to get it is from Bandcamp.
*** Sylvie Courvoisier CD’s and vinyl on Amazon ***
*** Mary Halvorson CD’s and vinyl on Amazon ***
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