"I first played with Magda in 2012 in Zurich. Since then, we've had further concerts together in Germany, Australia and Switzerland. It would be fitting that this, our first release, would be recorded at the Werkstatt fur Improvisierte Musik Zurich, the same room where we originally first played together thirteen years ago."-" Jason Kahn

"Upon learning that a recording collaboration between Jason Kahn and Magda Mayas had come out, this writer started fantasizing on top-notch interplay, anticipating a classic case of "match made in heaven". Only after reading Kahn's notes did I realize that the pair have known each other for thirteen years now, thus unintentionally reinforcing my thesis about their compatibility. In Night, the respective palettes - electronics and piano with objects - interpenetrate productively through three improvised pieces, the titles forming the poetic phrase "The night was gone, the morning star was shining in the sky" found in Elie Wiesel's book bearing the same title as this album.

Kahn and Mayas's creative minds are sustained by the constant focus they maintain on the fine details of the performance. Demonstrating admirable skill, they also exhibit a fundamental understanding of the significance of mutual respect and sensible self-restraint in this area of expression. Quietness, as an integral component of such music, represents the origin of the sounds and an essential color in itself. A perceivable environment, if you will.

The conversation is multilayered but transparent, each element seamlessly integrating in the wholeness due to its inherent logic. Kahn's approach is slightly unruly in regard to the temperament of his emissions, yet he easily maintains control over the unorthodox dynamics born from the spontaneous abstractions. In a slight contrast, Mayas embodies a more reflective aspect of the interaction, revealing a comprehensive awareness - a prescience of sorts - of the intrinsic morphology of all timbres. She is cognizant of the necessity of a novel trajectory for every gesture, thereby endowing them with the requisite wisdom.

It all results in a natural consecutiveness of singular events, variations in intensity, instinctive allusions to what is otherwise indescribable. It's a mix of unpredictability and careful study of variable combinations, on which the duo sometimes dwells in intelligently minimalist fashion. In practice, if there is repetition, it serves expressly to throw some light on the innermost constituents of a sound, whether it is a metallic arpeggio, a burst of convulsive signals, a roar of resonant strings in the lowest range, a feedback that is difficult to harness.

Should a symbol be sought to represent this work, one might consider a piece of paper discovered by chance on a beach, inscribed with a series of enlightening annotations rendered partially illegible by the sun and salt that have altered the ink. The elation derived from comprehending the content in its entirety will justify the investment of time and effort. The sporadic rays of sunshine amidst the overcast of a stormy day, and the overall sense of accomplishment, will be indicative of internal growth for those whose senses are attuned, and whose aural equipment is receptive to a superlative electroacoustic patchwork."-Massimo Ricci, Touching Extremes