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    mr 014-1157 / Mary Halvorson, guitar • Hubert Bergmann, piano release date: 2010-03-24, country: germany, recorded by: Phil Nylund at mudoks studio. Überlingen Germany, 2009-12-13, artwork: Nicolai Rissmann • www.nicolai-rissmann.de, p+c: mudoks records, all composition by the musicians • p&© 2010

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Hubert Bergmann, piano | Mary Halvorson, guitar

mr 014-1157 / Mary Halvorson, guitar • Hubert Bergmann, piano release date: 2010-03-24, country: germany, recorded by: Phil Nylund at mudoks studio. Überlingen Germany, 2009-12-13, artwork: Nicolai Rissmann • www.nicolai-rissmann.de, p+c: mudoks records, all composition by the musicians • p&© 2010

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released July 28, 2016

MIXTOUR
Mary Halvorson, guitar | Hubert Bergmann, piano


Rezension by Massimo Ricci | touchingextreme
No need to restate who Mary Halvorson is, but hearing pianist Hubert Bergmann at work was a premiere for this reviewer; a satisfying first meeting, to be sure. The improvised set, lasting less than half a hour, was taped in a single afternoon; despite the swift agreement, this recording – the lone time in which the two played together – contains a good number of pros and almost no cons, acquiring value with each new listen.

A brief interlocutory phase starts the duet, both artists touching the respective instrument’s strings cautiously yet probingly, atonal implicitness and rarefaction going hand in hand. As the minutes start flowing so does the musicians’ unrest, a parallelism of insistent arpeggios becoming the predominant feature.

Bergmann moves all around the keyboard in cascades and clusters, distantly recalling Keith Tippett’s mesmerizing agitations; Halvorson responds with wounding diagonals and discordant scales – which Robert Fripp post Discipline would approve with a smile – at times twisted by the use of a whammy pedal.

Intervals of charming quietness turn up from the sixteenth minute on, the couple slowing down every once in a while as if willing to check at what point they’ve arrived, the waters calming a bit through restful piano chords and a little breathing in between the guitar’s clean lines. This alternance is a decisive substantiation of the mutual receptiveness which defines the music’s quality, eventually classifying MixTour as a welcome introduction to Bergmann’s capacities and one among the many interesting releases involving Halvorson.

touchingextremes.wordpress.com/2010/12/25/mary-halvorson-hubert-bergmann-mixtour/
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Rezension Rigobert Dittmann | badalchemy

Welcher Wind wehte aber MARY HALVORSON am 13.12.2009 nach Überlingen in HUBERT BERGMANNs Arme? [Antwort: Der Vorabend- Gig mit ihrem Trio mit J. Hebert & C. Smith.]

Danach blieb etwas Zeit, um mit ihrer Gitarre seine Pi(ano)nuts zu salzen. Phil Nylund von Halfpipe fing die sonntägliche Gelegenheit (vor dem Sprung ins Londoner Vortex) aufnahmetechnisch ein.

MixTour (mudoks nr. 014-13115) bringt die halbstündige Knabberei zu Gehör. Temperamentvoll mischen sich knusprige Tonfolgen in intuitiver Harmonie. Die beidseitigen Arpeggioläufe schlagen wie ein Reißverschluss die Zähnchen ineinander. Bergmann umwirbelt Marys Bocksprünge - sie ist ja alles andere als ein Lämmchen - mit einverständigem Gusto. Halvorson zeigt sich bestens aufgelegt, trick- und temporeich. Bergmann hat alle Hände voll zu tun, um ebenso verschwenderisch das Salz der Erde zu streuen. Einige entspanntere Passagen schöpfen den Atem für weitere Treppensprints, denen man den Spaß an der geteilten Gedankenschnelligkeit der Finger deutlich anhört.

Dieses pikante Highlight in Halvorsons Diskographie bringt auch den mudoks-Katalog zum Prickeln. Für limitierte Geheimniskrämerei sehe ich keinen Grund.

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mudoks records Germany

[mudoks records, MUSIC OFF THE BEATEN TRACKS], documentation of improvised music, electroacoustic sounds, radio play, film. Recordings are snapshots of "changing circumstances" in which improvised music, such as lyrics can thrive as an expression of authentic life. Playing this always leads to a new way of looking at it, returning to the original of rhythm-sound and the meaning of speech. ... more

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