By Don Phipps

This fascinating duo consisting of the outstanding multi-instrumentalist Joe
McPhee, whose contributions to the free jazz idiom are most noteworthy
(take a look at his work with Trio X!), and Clifton Hyde, a famous movie composer
who has performed with the likes of Michael Stipe (R.E.M), Patti Smith, Philip
Glass, Lou Reed, and The Kinks Dave Davies, supply up an album that
paperwork a 2006 dwell efficiency on the Roulette (situated in decrease
Manhattan on the time of the recording however which has since moved to
Brooklyn) in honor of then residing French sculptor Alain Kirili.

Kirili was an artist identified for creating new and revolutionary methods to not solely
view sculpture, however to expertise it as effectively. And the 15 items right here
likewise encapsulate new and revolutionary avenues of sound experiences.

Whereas a virtuoso on each saxophone (tenor, alto, and soprano) and trumpet,
McPhee right here stays with the alto sax and pocket trumpet. Hyde, a
multi-instrumentalist who performs guitar, mandolin, zither, piano, baritone
saxophone, and French Horn (amongst different devices), makes use of solely guitars and
the mandolin. Collectively, the 2 produce a kaleidoscope of music that
shatters and reforms, like some form of CGI reversal of actuality. Each
musicians create sputters and outbursts that at instances recommend the vitality of
a bucking bronco, whereas, in different moments, use lengthy legato notes to blow or
strum solemn, nearly reverent strains.

The music right here has a large emotional vary that’s each fascinating and at
instances jarring. For instance, in direction of the tip of “Lacoon Deux,” the notes
sound like a form of chemical experiment gone haywire. On “Improvisation
Tellem,” Hyde offers a bluesy undercurrent, revealing his Mississippi
roots. On “Nudite,” Hyde provides vocal utterings and screams like somebody
being murdered in a darkish foreboding forest whereas McPhee’s sax wails like a
screaming eagle. On “Generations,” the music has a unhappiness, like a stray
canine questioning what’s subsequent in life.

Hyde provides uncommon texture to the music through the use of his guitars to create
percussive results. He at instances reverts to hillbilly-like strums whereas
McPhee develops phrases in response. Typically the music breaks right into a
demonic dance whereas at different instances it appears like foghorns within the distance,
an early morning harbor name between ships.

Hyde performs a beautiful solo rendition of Ornette Coleman’s masterpiece,
“Lonely Girl.” Oddly, the title given is “Femme Seule,” which in accordance
to 1 translation, means “a girl alone.” One wonders why the piece was
renamed on this album.

McPhee ends the live performance with a soliloquy that displays on the “tough”
and “harmful” lifetime of the artist. He says that it’s as much as every particular person to
determine “what’s actual and what’s not actual.” Most telling is his assertion
that “listening (to free music) will not be a passive expertise…. It’s an
energetic expertise.” True phrases – and this live performance is most actually
energetic, an enchanting interaction of two masters of their devices and the
sounds they create.