Free jazz mind-blowing! The radical commitment of 2 artists for the beauty of the proposals, daring deployed or the nerve?

This disc recorded in 2008 and released in 2012 by the label "Emanem" features a duet: the Swiss violinist Charlotte Hug and French pianist Frédéric Blondy together in a "free jazz" directory. They play and improvise together on their respective instruments. And how!

The most radical and free moments, one perceives and listens a lot of noise made from the material of the violin and piano. For example for the latter, martellements in her womb, using objects to come hit the constituent wood structure ...; for the first, completely dry as tight ropes, compressed, preventing any resonance at the limit "tormented", abused, rubbed ...

Such a bewildering turmoil at times that one wonders what one perceives. Is like hearing other instruments or precisely true! (9 cello, piano prepared 9, 10, voices moaning in 10 ...). At other times an atmosphere of doom (2, 5, 7, 8) where artists revel in this radical commitment and exercise hardliner.
The artists are released from all straitjacket, to come forward possible frictions escaping the constraints of gender and use all these sounds distorted, redesigned ...

Several times slow beaches came after a hectic 3 after 2, 4 and 6 after 5, 9 start after 7 and 8. Only two successive tracks (10 and 11) are slow.
A report these sounds incredible product of 2 instruments could not be more traditional: just a few additional objects for the piano. Rest well how to use ...

After jubilant held in 5 of the violinist contented sighs are expressed in 6 times its resonant cry like a long continuous complaint and mastered completely (11, 12). It is not necessarily guess right away that this is the emission of a sound. One suspects that he was working to achieve this ideal and this contentment.
Strange noises "beast" totaled 3 and 10: This is probably the resonances of the piano; but amplified and embedded in a resonant halo.

The 3rd beach or "attempted improvisation" is successful in the succession of different atmospheres. Reminiscences also guess a serial writing (8) ...
We guess 4 agility mastered the pianist after all the work of the Master studies saturated Ligeti: an undercoat which the composer was a master, and he had worn to perfection. A kind of homage, ownership, or natural musical continuity? 8, some as reminiscent of "Musica ricercata"?

The sixth piece is very slow and intimate, framed by two completely experimental beaches. 9 begins slowly and ends also very foutraque but with a certain harmony with the cry of the violin as a discharged voltage.
Longest play presented (9) draws an interesting proposal: a long and quiet beginning that gradually comes to agitate the 7th minute and explode to the end, by the short cry of violinist overloaded tension and passion.
After these rich sound tirades, beaches 10 and 11 remain more collected or adagio, with the plaintive soft and beautiful voice of the violinist who mixes so well with that of his instrument.

For this 10th part, the use of prepared piano / chime obviously recalls the manner of John Cage. Besides the booklet in English states that "there are as many Lachenmann and Ligeti in the game of Frederick as free jazz (...) and I suspect that" Bouquet "appeals more to connoisseurs of [Gerard ] Grisey, [Iannis] Xenakis, [John] Cage and [Morton] Feldman and amateurs Coltrane, Sanders and Ayler. "
In 12, the progressive agitation brought forth and express itself. The brand is thought perceive a constant magnetic tape in the background but the illusion is perfect.

It is quite clear that "no addition or alteration was made electronic (e)" on recording, history that we can think about it or even think about it.

A strong complicity animates the two musicians, also a strong mutual trust and freedom granted to each other. They take head on the music and sounds to grind them in every way possible, to satiety or until you quit listening. But not exactly: one is carried away by this flow and these musical experiments today, virtually without limit, in these forces of sharp and restless proposals.
To be considered an extreme experience, in depth the possibilities of the musical material and even noisy, like a game? More preferred sequences, creative energy, the pellet; and we accept these excesses obviously.

It is not known how these sounds are produced, but the emotion, fascination, interest and curiosity they generate must be observed. We must accept these excesses as a given freedom, a creative intoxication, a curiosity to break the usual known and inner life. And charm will captivate us like a charm, especially after the fact.

Having had the chance to see them move on stage, the experience is even more startling.
A special staff for violin bow; body bent pianist on keys, or as handling his paraphernalia multiple objects in the body of the piano. An experience that involved more experimentation-pleasure for us, the witnesses ...
A privilege to enter the wave "shock" of the duo and see them evolve, we can only score with a particular emotion brand new, with maximum energy.

A disc all red to procure immediately for lovers of really different sound perspectives; where the routine will be transfigured into fresh drinking ... Other groups appear quite insipid us then ...