Editor’s note: this is a quartet for double bass (John Hughes), soprano sax (Gianni Mimmo), pipe organ (Peer Schlechta) and bass + contrabass clarinets (Ove Volquartz), recorded on November 8, 2021 at the Neustädter Kirche in Hofgeismar (Germany). The following words constitute the album’s liner notes. Thanks to the artists for having me on board for this beautiful project.

The meaning of “cadenza del crepuscolo” (“dusk cadenza”) can be interpreted in a variety of ways. The most profound is the one corresponding with the implicitly slow flux of thoughts and reflections that emerge as we sense the day fading away, possibly in a moment of somewhat regretful oscillation between an unknown tomorrow, what we have already experienced and now miss, and the unexpressed potential of what we long for, but have not yet achieved (and perhaps never will). The sympathetic musicians contributing to this recording came seriously close to a flawless synthesis of such subtle, if excruciatingly painful individual circumstances. The organic development of their spontaneous interaction adheres to an intuitively composed logical thread: certain structures appear predetermined even if they’re not at all, the variable instrumental undercurrents directed toward a rather rational ideal of event sequence. Through vivid improvised signals, the instrumentalists involuntarily rescue the audience from any possibility of meditative torpor, still highlighting a vague perception of sheer immensity. The environment that drives all evolutionary processes, whether strictly musical or unfathomably transcendental, is one of a nearly overwhelming awareness of the aggregate resonance around which the universal laws revolve. In that regard, it’s nice to recognize Gianni Mimmo’s impactful viewpoint when he refers to dusk as “a parting gift of light”, although selected textural convergences may conjure remote associations with other composers of the ineluctable – think Gavin Bryars, William Basinski, or even the Brian Eno of “Fullness Of Wind” – in the listener’s mind. As the record ends, we’re under the impression of having received an equally wondrous present: a modest beauty that struggles to get out of its protective shell, but which one smiles at without hesitation or fear.

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