Nightbird Inventions

"Among the artistic hierarchy, the birds are probably the greatest musicians to inhabit the planet." Afar away as the late Olivier Messiaen’s epic and often complex pieces are from bassist Dominic Duval’s bold and fiery solo improvisations, one similarity is clear. Both Messiaen and Duval possess natural musicianship-organic as that of the birds that each praise. What makes this disc unique is that not only does Duval praise birds and such influential bassists as Barry Guy - he also praises Tuvian throat singer Sainkho Namtchylak, who is the main inspiration for the tide track. This inspiration places Duval on the same plane as Messiaen once again - both use disparate ethnic sources to inform their own music.

As for his bass influences on this disc, one can indeed hear Guy in Duval’s lightning-quick responses and use of effects, Barre Phillips in terms of structure, form, and lyrical line, and Dave Holland in terms of Duval’s ever-present pulse that underpins even the most abstract piece.

There seem to be three basic approaches for Duval on this disc that integrate all of these influences and expose his own considerable musical spirituality. The first approach integrates Duval’s effects and use of birdsong (less precisely than did Messiaen, but every bit as effectively), the second involves his virtuoso arco technique, and the third reflects Duval’s guitar-like pizzicato exploration of nimble yet melodic lines and related improvisations.

"The title track is akin to both birdsong and Sainkho’s Tuvian vocal style with its high-pitched arco arpeggios and low guttural responses. The echo, panning, and stereo chorusing contribute to the menacing intensity of the piece, but by no means do they distract. Duval seems to listen very carefully to himself, painting a coherent picture of both Sainkho and nightbirds without pretense or cloying musical gimmicks.

On "More Nightbird Inventions;" Duval seems to concentrate more on the birds themselves - flocks of them. Here, the effects and Duval’s vivid idea of what a bass can do send a flock into the air and leave them hovering, while Duval supports the flock with structurally sound underpinnings that provide a stunning aural painting.

Duval again uses a similar technique on the final track, "Final Thoughts - Look Through Windows In Rain:" Here, he creates great clouds of sound harmoniously linked together thematically into a coherent whole.

"Dolphin Sighting," which seems an extension of bassist Charlie Haden’s whale sounds, successfully explores Duval’s arco technique. Here, Duval uses reverb, panning, echo, and even phase shifting to aid these mysterious sounds, to which he occasionally adds his voice. Near the end of this track, the deep throbs of the processed bass provides a visceral sensation not unlike that gained from viewing the great black fields that provide the visual emphasis on Robert Motherwell’s "Spanish Elegy" paintings.

On "Dark Passage," Duval uses digital delay and reverb to paint a subtle picture in solemn blue colors - a kind of Picasso for the 21st century. Here, Duval’s virtuosity is readily apparent-he has great control over color, timbre, intonation, and pitch.

Much as midnight casts a dark, mysterious spell on the night, so does Duval’s "Midnight Veil:" This is another virtuoso arco piece which uses reverb, echo, and panning to reinforce the spell. Duval reacts compositionally to the effects, creating phrases that shimmer, much like a Rothko painting.

"The Journey Home, Movement II" is yet another arco piece that displays Duval’s considerable bowing techniques. His ability to catch fire emotionally (must have been a fierce journey!) and keep such well-articulated intonation is rare in this music.

Duval’s most lyrical sense shows itself in the pieces in which he integrates his pizzicato technique. On "Dance of the Bass;" which is enhanced by only a hint of reverb, Duval uses an almost backwoods melody that seems to reflect his New York residency. The solidity of his playing is most apparent here - he keeps the music firmly anchored.