TRIO SOWARI – Third Issue


Impossible to believe that ten years have slipped away from Trio Sowari’s previous release, the impressive Shortcut on Jacques Oger’s Potlatch imprint. Phil Durrant, Burkhard Beins and Bertrand Denzler embody the type of unyielding unit that could be entitled to produce a new album every six months, and I’d be perfectly content. However, authentic wisdom is nourished by a profound respect of silence; what is told after that silence becomes consequential in a process of real development. Accordingly, Third Issue may break a lengthy intermission in terms of discography, but its characteristics and meanings enfold all the experiences occurred in the meantime to the players, their intuitions now enriched by additional sagacity.

The coalescence of synthesizers, percussion and saxophone also delineates the individual textural settings. The dissimilarity of the sonic waves is of course evident, yet the multiplex integrity of the emerging music is (forgive the commonplace) a thing of beauty. The group ideally promotes the “let the sounds dictate the pace” theory; better still if the participants share a vision, which in the case of TS coincides with the term “improvement”. Nary a moment in these four tracks contains formularized sonorities; the organic qualities are directly proportional to a penetrating intricacy which, in turn, enhances the sympathetic listener’s responsiveness. This happens notwithstanding the artists’ proficiency in melting voices and merging sources. For example, try and separate synthetic and acoustic emissions at the beginning of “Suspension”; as a severe drone inexorably advances we picture a sequence of wordless events, a concatenation of “frequency frames” somehow flowing into a bigger undercurrent. This piece, though, is an exception of sorts given that the foremost “Sowari sound” derives from a hands-on investigation of the spaces between innumerable dynamic turns. Ultimately, tangible matters and vivid timbres become deprived of an owner: maintaining the ongoing flux is the rule of thumb. The musicians always manage to do this, with results often verging on the amazing.

Intense concentration and earnest sharing during a performance give birth to a loss of the self, especially when the only relevant science – that of vibrational propagation – is taught with such austere modesty. Strike another five-star record for these gentlemen, in the hope that I won’t be already departed when the next chapter is published.

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