A Deviously Entertaining Avant Garde Archival Treat by Pauline Oliveros and James Ilgenfritz

One of the most irresistibly fun sonic explorations released this year so far is Altamirage, a collection of late-period duo recordings by Pauline Oliveros with bassist James Ilgenfritz, part of which is streaming at Bandcamp. Oliveros sadly went to the great deep listening well in the sky in 2016, but she left behind one of the most individualistic bodies of work of any composer, ever. On this one she plays a duo with Ilgenfritz on two extended tracks from a collection of relatively rare works from the early 1960s. Much of this, as you would expect, is a feast of strange textures and timbres. Ilgenfritz has a gig coming up that she would no doubt approve of, improvising with guitarist Sandy Ewen and saxophonist Michael Foster at Downtown Music Gallery on Feb 11 at 6 PM.

The first piece on the record, Outline for Flute, Percussion and String Bass is classic longscale Oliveros (or put another way, classic Bernard Herrmann) with its sepulchral flickers and sudden bursts of phantasmagoria from flutist Martha Cargo and percussionist Chris Nappi. But it’s equal part cartoon score. Try listening all the way through without at least grinning a little: it’s a lost cause.

Oliveros’ tart electric accordion accents contrast with Ilgenfritz’s exuberance and frequent buffoonery (via some meticulously goofy harmonics) in part one of the album’s title suite. The album concludes with parts five, four and and three, in order. Ilgenfritz  bows starkly and lighting into a sleek glissando or two in number five as Oliveros airs out the gremlins in various electronic patches.

Part four is an unexpectedly steady, rhythmic, practically swinging pitch-and-follow sequence. The last on the list is the most distinctly ambient yet allusively melodic, and in that sense disquieting number here.

The Trio For Trumpet, Accordion and String Bass appears uninterrupted, Ilgenfritz joined by Stephanie Richards and Nathan Koci in a playful five-part suite of miniatures. Subtle dopplers, low drones, spritely wisps and the occasional chirpy hint of a fanfare all figure into the mix.

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