955 - Carlos Bechegas et Peter Kowald "Open Secrets, a suite in 13 parts"

On his 1998 solo CD Flute Landscapes, Carlos Bechegas was applying extended techniques developed by free improvisers like Evan Parker, Derek Bailey, and bassist Peter Kowald. In the case of the last artist, it led to a fruitful relationship, as Open Secrets testifies. Recorded in a Portuguese studio in October 1999, this CD demonstrates how like minded the two musicians are. Their level of communication is exemplary. Bechegas integrates his voice in his flute playing, something that has become a trademark for Kowald, especially when using the bow. Therefore some of these duets sound like quartets; "Part 10," featuring the bassist's scary basso profondo, is simply stunning. At the beginning of "Part 7," it is the bassist who mimics the flutist, playing the high register. The 13 free improvisations are kept short (nothing over eight minutes), dense, and electrified. In "Part 3," Bechegas' flute jumps all around, unstoppable, while Kowald tries to keep up, obviously amused. The flute's flutter-like exuberance completes the bassist's more introverted playing to a surprising extent — they were born to play together. Some free improv records are inhabited by a magical atmosphere. Open Secrets is one of them. All the promises found in Flute Landscapes have been kept. This is the first release on Bechegas' imprint Forward, and his first recording with a renowned improvisor. Strongly recommended. — by François Couture

669 - Carlos Bechegas André Goudbeek Peter Jacquemyn "Open Density"

Carlos Bechegas, flutes, voice
Andre Goodbeek, alto saxophone, bass clarinet, bandoneon
Peter Jacquemyn, double bass.

1. Density I (07.41)
2. Density II (07.22)
3. Density III (08.48)
4. Density IV (17.48)
5. Density V (03.15)

Recorded live on 2 August 2002 at the Antwerp 29th Free Music Festival.

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206 - Open VIEW (hello Peter)

While the back cover of Open View says “Live at the CCB (Centro Cultural de Belem), Lisbon” and the liner has a picture of Carlos Bechegas and Peter Kowald on a stage, I heard no audience noise or applause on this recording.
Perhaps they meant recorded live with no studio post-processing. In any case, the sheer range of sounds, with and without complementing electronics, is simply amazing.

Yes, Kowald is playing a string instrument, but he makes it growl, moan, screech, dance, slide and slap, all sometimes at breakneck speeds and with total control. The record's first four tracks consist of two solos by Kowald and then two by Bechegas.

Kowald's bowing sound is extremely strong—he presses very hard—and he starts off with a low bowed note mixed with vocalism mixed in. He then is off with a stupendous display of bowing and fingering, drawing air raid sounds and what sounds like cow mooing, only to switch to slapped harmonics, changing to bowed harmonics that sound like a flute. There is much more in the rest of the first solo and the second. He is simply amazing, especially since it sounds as if there are no electronics to add to his blizzards of notes and effects.

Bechegas relies much more on the mix of flutes and electronics, and also with his voice mixing with his playing. How he is set up electronically and how he controls what happens, I have no idea. What is attractive is that, unlike Kowald, Bechegas is limited by his breath, and he manages to press so much into each phrase, sometimes totally distorting his flute, other times playing straight, while occasionally adding a second instrument by the electronics. The effect is fascinating, surprising, and intriguing.

The last three tracks have these two marvels playing together and, after exposure to the solos, the way they work together makes a lot of sense. I again cannot say anything about the notation (if any), the preparation (if any), or the cueing for changes in texture or styles. The music is extremely energetic, and, while the men are partners, I was continually drawn to the things that Kowald was doing, perhaps because I am more familiar with string instruments.
If this really was a live concert and the audience was cut out of the recording, they must have been blown away after the fifty minutes had passed—if they knew what they were getting into—or maybe even if they had no idea what hit them.

Track listing:

solo 1 (6:00), solo 2 (9:52), solo 3 (7:05), solo 6 (5:47), Open View 1 (9:48), Open View 2 (8:20), Open View 3 (3:12)


Personnel:

Carlos Bechegas - flutes, electronics and voice
Peter Kowald - contrabass and voice

Budd Kopman
All About Jazz

Peter KOWALD

Achetez / buy Open VIEW

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