Placés dans l’air (Alessandro Bosetti, Bhob Rainey, Michel Doneda)

Label : Potlatch
Author : Alessandro Bosetti, Bhob Rainey, Michel Doneda
Title : “Placés dans l’air”
Format : CD

Carried like a feather by the wind, crushed by the pressure unmistakably present, this soprano saxophone trio, sculptors of air columns, explorers of fullness, tamers of emptyness, plunges us in the complex relationship of three poets of the breath. It is recorded with a great attention by POB in a warehouse in Toulouse.
Doneda is also featured along with Alessandro Bosetti and Bhob Rainey in a soprano sax summit of sorts on Placés dans l’air. But, in the hands of these three, calling this a sax trio is quite beside the point. This long, extended improvisation is more an expansive sound painting in space. Doneda, Bosetti, and Rainey distill their instruments down to the base parts; breath against reed, air vibrating along a metallic bore, keypads
clattering against brass. Like the Doneda/Rowe/Leimgruber trio, the trio eschews linear arcs and emphatic conversational interactions. Instead they gradually choreograph a collective sound from microscopic gestures and the sonic extremes of skirling overtones and barely audible whispers. A sense of methodical collective searching slowly reveals itself as the three layer shadowy timbres and oscillating harmonics in the resonant room. The inside cover provides a stereoscopic photo of the cavernous raw warehouse space where this was recorded, and Pierre-Olivier Boulant’s “subjective stereophonic recording” subtly separates the three voices to outline a sense of the room across the stereo plane. Every subtle shading and nuance is captured effectively, drawing the listener in to the fluidly evolving
improvisation. The three are masters of every manner of extended technique so this could have easily become merely a catalog of advanced facility. At
first, they seem to be cautiously circling each other to find a collective center. But as the piece progresses, their voices coalesce as gradated textures and spare gestures are passed around. And it is this depth of sonic detail and sense of crystalline intent that carries the endeavor.
With these two new releases, Potlatch continues to carve a niche for itself in championing the various fringes of European improvisation.
Michael Rosenstein, Signal To Noise / Summer 2003


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