Gottschalk has made her presence known on the Downtown New York music scene in recent years with several appearances at the cuttingedge Vision Festival in the company of stalwarts such as Peter Kowald, Oliver Lake, and William Parker, among others. The violinist/violist joins forces on (1) with bassist Jacquemyn and accordionist Völker for a program of dynamic and electrifying action that leaps well over the line into the trio's output that casts a mesmerizing spell of bewitching magnitude. Gottschalk and Völker are on similar tonal wave lengths churning out rapidfire missiles of intense heat while Jacquemyn builds a rumbling bass foundation from which they are able to ignite. Three lengthy pieces compose this session where speed of collective execution is at times supplanted by introspective musings. The trio doesn't remain in this reflective stage for long and continually reverts to a state of piercing acoustics. Gottschalk and Völker seemingly creep inside each other's mind set using their interactive communicative skills. The violinist builds a barbed perimeter around the action and the accordionist enters the circle with jarring staccato complements. In the underworld beneath them, Jacquemyn stirs a murky pot of viscous consistency to balance the sonic spectrum. Deep, mindbending canyons of spontaneity erupt into a sea of joyously cacophonous sound rivers. This is not, however, music that washes over one in waves of numbing abstractness; it is highly provocative artistry that commands rapt attention to the intricacies of three astute musicians who reward the bold voyager with a startling brand of creativity.
Review of Baggerboot: Cadence
February 12, 2010 | Posted in Review | Tagged baggerboot, gunda gottschalk, peter jacquemyn, ute völker