#werner dafeldecker

Written and Produced by Werner Dafeldecker & Lawrence English

Werner Dafeldecker: treatments, electronics Lawrence English: field recording and preparations

In an interview with Dafeldecker on the Another Timbre site, the bassist talks about his shared history with Capece. “We share similar interests and a similar history when it comes to content and methodology in improvised music… When I refer to shared history I mean that both of us have been interested in improvisational concepts away from emotional expression and/or jazz-routed music. I think we also share a non-dogmatic approach when it comes to the term “reductionist” music. In my opinion the term is an imposed category which tries to describe a social cultural shift of the values in that specific field of music at that time. Density or emotionality were often replaced by a certain degree of clarity of structure and tonal accuracy. I clearly have been involved in that relocation which, like every change, leaves its mark.” That sense structural clarity and attention to tonal interaction is paramount to these two improvisations. 

Capece has proved himself to be a master at controlling and fine-tuning the way that sound operates in specific spaces. He has talked about being more interested in thinking of sound in terms of diffusion rather than projection. He explains, “I think that [the relationship between sound, space and performance] is fundamental. Sound is a living creature and it’s three moments have to be considered as fundamental in the life of this creature: The way the vibration is produced, the way it travels (space) and the way it’s perceived, listened.” Their collaborative approach to sonic diffusion and attention to those relationships is an apt description of this set. This is improvisation that moves slowly and patiently, built from the accrual of infinitesimal shifts of microtones, feedback and reverberance. The mutable wafts of breath through clarinet and saxophone projected and refracted through the performance space meld with dusky burnished bass overtones, percussive treatments and rasping abrasions of bow against strings. 

The first improvisation, “Iteration Part 1,” begins with shuddering arco harmonics and deep, welling bass clarinet notes, proceeding with purposeful attention to the interactions and amalgamations of timbres and tones. Over the course of the next 23 minutes, the two ride congruent waves of sound which ebb and flow in intersecting arcs, mounting and receding with rapt consideration. “Iteration Part 2” follows, with more active playing from Dafeldecker as he plucks and beats the strings more dynamically, balancing the percussive scraped and scoured textures of the bass against the cavernous reverberance of Capece’s reeds and feedback. Capece provides an enveloping field for his partner’s playing with slowly unfolding gusts of notes and changeable amplitudes, injecting oscillating tones that hang in the mix. While the fundamental sounds of the respective instruments are more evident and the field is more animated, the two are still mindful throughout of the way their collective activity inhabits the unfolding contemplative sonic explorations.

Dafeldecker’s recorded output has slowed a bit over the past few years and it’s great to hear him, particularly in the company of such a complementary partner. Capece continues to push himself with installations, solo recordings and collaborations and this one is a worthy addition. It’s great that this duo was finally documented, particularly with the usual sterling attention to sonic detail that Simon Reynell brings to all of the releases on Another Timbre.