Seven tracks characterized by an articulate clarity that might fool someone into thinking about pre-planned configurations, a self-generated combustion between three individualities who need no official authorization to certify their belonging in the realm of technically gifted off-the-cuff players. This is what you’ll find in 10.000 Leaves, debut CD of a troika comprising Gianni Mimmo on soprano sax, Elisabeth Harnik on piano and Clementine Gasser on a 5-string cello that at times is handled like a double bass (just listen to “Fire Code” to see what I mean).
This is music of elegance and distinction. Detailed as a complex score but played with a high degree of liberty; never parsimonious in emotions and tenseness, always open to impulsive changes occurring every few instants. The listener can choose a way to approach the analysis of the interplay, either by enjoying the collective palette – sounds of diverse constitutions and timbral consistencies coming from all angles – or focusing on the respective paths, which in all likelihood will be easier for those who are conversant with what “playing an instrument” means.
When the single voices have the opportunity of a brief solitary walk, they’re still respectful of what happens around them, including silence. The beginning of “Radiance” – mostly made of rarefied touches and whispered bowing – is a perfect example of such kind of sensitive manner of utilizing the ears in connection with instinct. When a group evokes non-diplomatic politeness as in this circumstance, listening to it gives a positive stimulus independently from the type of message that the musicians wish to convey.
Having concocted a well-mannered recipe of dignified “regular” interaction and extended techniques that don’t want to conceal the human factor, Wild Chamber Trio prove that they’re more educated than frantic, their name notwithstanding. Without losing an ounce of artlessness in the meantime.
MASSIMO RICCI. TOUCHING EXTREMES. 