Sara Schoenbeck & Wayne Horvitz: Cell Walk
Songlines

Any reservations one might entertain about the bassoon as a lead instrument are effectively laid to rest by Sara Schoenbeck on this sixty-five-minute outing with pianist Wayne Horvitz. They formalized the duo in 2018, but they've partnered for two decades, with the bassoonist having contributed to a number of his projects, Gravitas Quartet, Sweeter Than the Day, and Some Places Are Forever Afternoon among them. The stars align especially well on Cell Walk when the material encompasses notated pieces and improvisations and the two demonstrate a noticeably strong rapport. Seventeen tracks appear, ten credited to him (including many included on earlier Horvitz releases), two to her, and five to both; nine pieces laid down in Vancouver in mid-2019 were followed by six others recorded in Brooklyn a half-year later, the latter with electronics added to the mix.

Admittedly, the album includes a number of chamber-styled duets that reinforce the bassoon's association with classical music, yet Schoenbeck also does much to reframe it as an instrument well-suited for a jazz-related context, improvising included. Stated otherwise, her playing on the release engenders an enhanced appreciation for the bassoon's flexibility and range, and it doesn't hurt that it blends so pleasingly with piano.

Horvitz's “Undecided” establishes a chamber tone for the release, the players advancing circumspectly and voicing the tune's yearning theme with feeling when not following less predetermined pathways. His writer's voice is naturally a major factor given the number of pieces he authored, and the recording, elevated by memorable compositions such as “No Blood Relation,”“American Bandstand,” and “The Fifth Day,” hardly suffers as a result. As mentioned, some Horvitz tunes were written years ago, whereas others are of recent vintage, a case in point, “Cell Walk,” a somewhat cryptic exercise spawned after Cecil Taylor's passing, the title a reference to “Cell Walk for Celeste,” a track on an early CT record Horvitz liked.

Hearing the two in a duo context invites a greater appreciation for the high level of musicianship each brings to the project. As a pianist, Horvitz always operates at a high level, but that's even more evident here; positioned in a lead role, Schoenbeck shows herself to be not only in full command of her instrument but also comfortable meeting whatever challenges the material throws her way. Her playing's exemplary, and singling out any one moment risks favouring it over others. The powerful solo she delivers during the bluesy “No Blood Relation” bears worth mentioning, however, as does the turn she takes in Horvitz's impish “for Lou Harrison.” She also introduces her sombre meditation “Deep Well Well” with an accompanied solo that shows multiphonics used to extend the bassoon's sound.

July 2020