Letter to a Stranger is a raw, high-spirited dance between two of contemporary jazz's strongest musicians, saxophonist and clarinetist Ken Vandermark and drummer and percussionist Paal Nilssen-Love. Recorded in January 2011 at a studio session in Chicago, the resulting music is impressively multifaceted, and it's sometimes hard to believe there are only two people on the CD.
Five of the songs are generous explorations of avant-free music. The title piece is a fabulous example of modern energy music, with Vandermark creating wild wavy lines full of edges and textures, as well as playing with repetitive motifs. Nilssen-Love creates a propulsive field of rhythm, quite often pulling the rug out from underneath Vandermark — a rug that was never really there, anyway. "Cat in the Water" is a gorgeous tune that's free and wild. The beginning starts out spare with cymbals and clarinet, creating mysterious, liminal sounds that echo in the subconscious. Then the piece picks up dynamics and speed, running headfirst into a blistering impov. Vandermark plays with a powerful language both sophisticated and primal, and Nilssen-Love is all over the drum kit, finding just what the music needs with unerring instinct in order to provide backup, contrast, and even argument.
"Crippled Donkey" is a tremendous song with thick, robust sounds. Vandermark once again displays a remarkable grasp of his instruments, even when the music sounds like it's on the brink of chaos. Nilssen-Love weaves a world of sound alongside him, with dips and flourishes and battles and earthquakes and volcanic simmerings that turn into full-blown eruptions. "Strange Love" is a more meditative piece, slower and shyer than the other tunes. The song is gloriously cautious, as perhaps one should be when contemplating a strange love. "Bent Corners" is an agile, muscular song where the corners are not only bent, but twisted inside out and backward. Vandermark and Nilseen-Love explore all sides of the issue, creating an enjoyable journey with unpredictable byways, including moments of beautifully free lyricism.
Interspersed with the five longer tunes are five "Field" pieces, brief slivers of atmospheric sound that last anywhere from forty seconds to about a minute and a half. These economical explorations provide bits of ambiance and space that cushion the longer songs and reflect back on them. Mention must also be made of the CD's booklet, which in lieu of liner notes has stunning photographs by Vandermark. Like the music, the photos can be divided into vividly spacious images and others that have a forceful, anarchic beauty.
Vandermark and Nilssen-Love make a mighty team: both musicians are incredibly fast and facile, and they're equally comfortable whether they're exploring chaos or silence. It's a pleasure to witness such strong musical intelligence at work and play, and altogether Letter to a Stranger is a treat, a powerful CD full of courageous and inventive music.
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