Loose Connections
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Loose Connections I
15:10
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Loose Connections II
16:55
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Loose Connections III
12:33
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about
Georg Wissel - augmented also and tenor saxophones
Concert recorded by Stefan Deister, 29 September 2021, LOFT, Koln
Mxed by Georg Wissel
Mastered by Richard Scott
Design by Matthew Brandi
Produced by Mark Wastell
"An unusual and engrossing concert of free dialog using tightly controlled technique between two legendary free jazz improvisers: percussionist Paul Lytton performing on tabletop percussion and "bits and pieces", and saxophonist Georg Wissel performing on augmented alto saxophone and tenor saxophone, from reserved intricate detail to forcefully passionate expression." (Squidco, USA)
"Paul Lytton and Georg Wissel have been working together as a duo for almost two decades now but this recording, capturing a 2021 set they played at LOFT in Koln, appears to be the first document of their project. Lytton has been plying his ample collection of percussion, electronics, and astutely selected resonant detritus in duo formats since the early 1970s with musicians like Evan Parker, Philipp Wachsmann, Paul Lovens, Ken Vandermark, and Nate Wooley. While strategies may differ, each partnership highlights Lytton’s keen ear toward the placement of nuanced sound in expansive, spontaneous interactions. On his web site, Wissel describes himself as sculptor of compressed air via augmented saxophones, clarinet, and other soundsources, honing his approach toward improvisation in solo settings and in collaboration with musicians including Burkhard Beins, Thomas Lehn, and George Cremaschi. From the first fricative pops and metallic clinks, the two lock in across three improvisations, each ranging from 12 to 17 minutes. They build a taught, propulsive flow of intersecting activity with Wissel’s frayed tones, burred fluttering multiphonics, breathy hisses, clipped flutters, and percussive pad pops and ticks melding effortlessly with Lytton’s subtly deployed brisk spatters, scuffed scrapes, nimbly-placed clangs, rustles, and clatters. The music progresses with incisive focus and measured deliberation, displaying a deft sense of density and velocity. The two deftly weave together sections of stasis and fractured angularity, dynamic minutely juddering gestures and tremors, and sparse timbral detail. The open arc across the three improvisations balances parallel explorations of textural abstractions with a brisker approach toward gestural activity. Wissel’s pinched, stabbing phrases and bent multiphonics bound across the bent resonance and skittering angularities of Lytton’s percussion. The third improvisation is of particular note. They begin with Wissel’s reeds sounding almost like a shō, with buzzing overtones buoyed by Lytton’s pin-prick attack, stuttering cascades, and bowed shimmers. Gradually, a thread of pointillistic interchange emerges, with velocity that ebbs and flows until a sudden break of silence. That serves as a launching pad for a final section of hushed, calmly coursing deep overtones and whispered, scuffed surfaces bring the set to an adept close. (Michael Rosenstein, Point of Departure, USA)
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Confront Recordings London, UK
Confront Recordings : proudly publishing adventurous music since 1996.
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Nov 2025
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