He may have talked at length with his counterpart beforehand. This in mind, there are two ways to look at the opening moments of You Can Be Mine. He said he wanted to explore more improvisation. You Can Be Mine was put to tape in 2012, but I don’t think it’s a stretch to say that this is what Nilssen-Love left Atomic for (perhaps not specifically, but in the same spirit). Snippets of sounds made by musical lifers that recognize enough of their prodigious talents to give a shit and cultivate them, grow them. Some is more exploratory, more isolated, though without all the whispered platitudes of what many associate with introspection (see Nilssen-Love’s Cut and Bleed). Some is in support of tighter compositions and stricter interplay (see Vox Arcana’s Caro’s Song). Fred Longberg-Holm and Paal Nilssen-Love, no secret, make a lot of music. The call from something – short, not always sweet – and the response. And maybe most cliché of all: the spotty little wind-ups and grabby little metaphors that start album reviews on every music blog ever. The junky shots, the inner-needle shots, that cloud of blood before the hammer drop. The kiss before the fade and implication, or something more gratuitous. ![]() The scream before the army rushes down the hill. There’s always something that starts the rush. The second one is 25-minutes slow-burning improvisation that feature trumpeter Thomas Berghammer, guitarist Raymond Boni, the gallery mastermind Hans Falb on turntables, violinist Irene Kepl, McPhee on saxes, voices and trumpet, cellist Noïd and drummer Makoto Sato. The first one is a delicate, short one with German drummer Paul Lovens. The last two improvisations were recorded at Jazzgalerie Nickelsdorf in Austria, when the gallery present its homage event to McPhee in May 2015. The third is a haunting, cinematic texture, charged with Foussat brilliant usage of voice samples, with Joe McPhee playing only the pocket trumpet and experimental double bass player Fred Marty. Following is a sparse improvisation with vocal artist Marialuisa Capurso and drummer Dirar Kalash. ![]() First with trumpeters Jean-Luc Cappozzo & Nicolas Souchal and trombonist Matthias Mahler in a 25-minutes of arresting sonic searches that highlight the emphatic interplay and the distinct voices of each of the musicians. ![]() The fourth disc is the real treat, presenting Foussat “with others”, in different ad-hoc free-improvised settings, all recorded in 2015.
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