What transpires from Elm City Duets after repeated dutiful listens is an impression of mutual regard, a quality which should be at the basis of cognisant interplay in every juncture. All the more complicated is fulfilling such an ambition in a guitar/double bass duo, a situation that only on the odd occasion warrants really good results – especially in terms of dynamics. Morris manifests a fan-like mindset in the liner notes, where he recalls his first meetings with Phillips many years following his “melting” the B side of Archie Shepp’s New Thing At Newport.
The actual music in the CD doesn’t reveal any sort of excessive veneration, though, thus we can effortlessly appreciate the consideration given by the artists to the infinitesimal detail as opposed to prefabricated incidents. A sparkling chord occurs because it was meant to be there at that moment, yet no one knew in advance; a touching arcoed lament appears out of nowhere to project our own inner tremor in the area of unintentional thankfulness. In essence, we’re talking about a fairly untreated acoustic interface between two distinguished improvisers who give birth to frequent moments of superb artistic purity, either slightly encrusted by the strident features of the instruments or defined by an extremely efficient juxtaposition of smart clusters, percussive clattering, minimal patterns and strenuous contrapuntal digressions.
In times of abundant eruptions of psycho-babbling vacuum, here’s a rare chance for the appreciation of a rather complex, yet kind-hearted expression of zealous musicianship by creative entities who have turned their will to remain unadulterated in a world of dubious circumstances into a distinct trait of tightly established earnestness, the sort of skill where even a minor blemish becomes an attribute to approve and learn from.