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LP
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WHYT 088LP
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Kind Regards is the second duo release from guitarist Oren Ambarchi and drummer Eric Thielemans. The record captures an expansive performance in Poitiers, France in November 2023. First working together in an unpredictable trio with minimalist legend and eccentric extraordinaire Charlemagne Palestine, Ambarchi and Thielemans quickly established a remarkable musical chemistry that led to an ongoing series of duo concerts, including the performance documented on their LP Double Consciousness. Kind Regards finds the duo refining their shared language while continuing to take risks, allowing the music's gravitational pull to lead them from meditative calm to unexpectedly expressive passages of melodic invention and rhythmic drive. Recorded in sparkling fidelity and carefully mixed by Ambarchi's longtime collaborator Joe Talia, the LP contains a single unbroken performance, stretching out for over 45 minutes. The set begins with Thielemans' hypnotic tom patterns, around which Ambarchi's wavering, shimmering guitar tones? achieved with the help of the rotating speaker of a Leslie cabinet -- flurry and swirl. Thielemans' drums play subtle tricks with time and perception, adding and dropping beats within repeated patterns to create an effect at once rhythmically insistent and liquified. Growing at first into a rapidly pulsing texture of brushed drums and flickering harmonics, the music builds momentum into an irregular groove over which Ambarchi's guitar is transformed into haunting, monumental electric organ chords, strikingly recalling the Wurlitzer work of Alice Coltrane, before settling into a section of gentle portamento melody embedded into the tactile clicks and clangs of Thielemans' percussion. When Thielemans adopts a more traditional jazz approach to the kit in some of the set's second half, the results are stunning, demonstrating a feel for shifting accents and sensibility to the touch of the stick on the drum or cymbal that recalls greats like Jack DeJohnette or Billy Hart. And when Ambarchi turns up the heat, he does so in an unexpected and delightful way, letting loose a swarm of jittering delayed tones straight out of Henry Kaiser's classic It's a Wonderful Life, with a more active use of the guitar's fretboard than his usual approach to the instrument allows. As the performance draws to a close after a climactic episode of distorted harmonic groans and crashing cymbals that manages to be at once thunderous and carefully attuned to detail, it is clearer than ever that, for these two serial collaborators, this is a very special pairing.
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