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Bret Hart - John Jasnoch: 'Improvised Duets - 1' [2003] digital

by Bret Hart - John Jasnoch

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1.
ARMCHAIR PEDIATRICIAN 03:23
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2.
NUTTY WAFFLE CONE ICE CREAM 01:40
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3.
LOVE-LAPSE 03:32
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4.
HEADS SHAVED AND ASSES BARED 04:34
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5.
MY LEFT ONE 04:24
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6.
HAIR SOUP 05:59
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7.
SHE SAID "PIANISTIC PERCUSSION" 02:01
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8.
12 ANGRY LEAVES 05:41
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9.
THEN, TOAST! 02:53
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10.
REFLECTING ON THE CARNAGE 04:15
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11.
PENT 1 03:16
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12.
PENT 2 02:34
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13.
NO, YOU HAVEN'T 1 04:37
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14.
NO, YOU HAVEN'T 2 01:56
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about

Bret Hart: percussion, slack-string guitar, 'hosebone', 'tube'flute', Korean 'folk-fiddle', banjo-uke, Vietnamese 'moon lute', electronics

John Jasnoch: electric guitar, lap steel, soprano electric 12-string guitar, gretless baritone guitar, mandolin, tenor banjo, oud
Recorded July 2001 in Eden, NC, USA & Sheffield, UK.
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ITIDS#12: Bret Hart/John Jasnoch IMPROVISED DUETS Vol I
"Bret and British guitarist John Jasnoch offer up 28 short tracks of Frith/Bailey styled improv guitar, but add lots of extra textures like electronics, dashes of noise, and percussives to keep things varied and interesting. Many of the tracks are less than a minute, but everything flows so seamlessly from beginning to end that I was oblivious to the fact that this wasn't one continuous performance. The subtlety of the playing is striking, and only attentive listening reveals some of the most proficient musicianship of the series. The musicians dance like ballerinas across the fretboards, the shred guitarists of free-improv. Yet exploring, discovering, and sharing a range of sounds, tones, and textures is as much a part of the adventure as the splendid playing. Jasnoch kicks out runs that are both frenetic and considered, and played against Bret's harsher guitar and electronics at times sound like the afore-mentioned Frith and Bailey teaming up with the electronic trip pioneers of early 70's Germany. But there are also tracks where both do the serious guitar thing, each dueling furiously with the other to create some of the most impressive improv guitar works I've heard in some time. Bret warned me that Jasnoch is a monster musician and indeed this disc is one that fans of avant-garde improv guitar will surely enjoy."
- aural-innovations
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credits

released January 1, 2003

Q: Tell me about your experience doing this project. Were you the "initiator" or "finisher"? If you were the finisher, were you surprised or feel challenged by what Bret sent you? If you were the initiator, were you surprised by the results after Bret finished it? If the result was something very different from what you're accustomed to could you offer some comments or thoughts?

John Jasnoch: I have recently been the finisher and am in the process of doing what's necessary to be the initiator. I was initially approached by Bret. When I heard Bret's half of the duo for the first time I could not hear in my head what I might do. It was only when I sat down to play my half of the music that any response came up (and what is on the recording is my unedited first response). I am not accustomed to working in this way although I have from time to time performed live with people who come with material already worked out on sequencers, samplers, tape loops etc. Oddly enough, when I sat down to play my half of the music, it did not seem that different to playing with a live person (that probably says something dreadful about my approach to this music!).
...
Q: Most of the Duets projects have been done by snail and email. Was this a new experience for you? Can you offer any thoughts about what it's like to collaborate on a musical project this way?

John Jasnoch: This was a new experience for me. My main thought about working this way is that it is a great method for overcoming the fact that, owing to this music not being a successful commodity and thus having no money behind it, face to face international collaborations are very difficult to facilitate.
...
Q: Do you have a specific thought(s) or image(s) in mind when improvising? Or are you really just freely "letting ‘er rip"? That is, do you typically apply any rules or guidelines to the process or does the music come straight from the soul?

John Jasnoch: The latter or, "letting 'er rip" as you so colourfully put it! As far as I can make out, there are no conscious processes operating, these have all been bypassed. The wellspring from which all this material emerges is connected directly to the fingers.

www.shef.ac.uk/misc/rec/ps/efi/mjasnoch.html

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Bret H. Hart Eden, North Carolina

Bret Hart is a musician, artist, and child of God living in North Carolina.
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"Life is too short to spend it making nothing."

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