Revelatory in its concentrated brevity, a new contribution from ariel shibolet (untitled 1959) crosses international boundaries

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ideal marriage

With Jacoby (2), Shibolet tends to focus more on breath as he gets inside the sound of the violist’s dragged bow and overtones (she’s a distinctive player in the manner of Christoph Irmer and Charlotte Hug). With sudden swells and spikes, the duo likes to occupy open space and seize upon those moments where they can focus and aim the sound. Jacoby is a somewhat more restless improviser, and this takes Shibolet into some interesting places. Occasionally she squiggles actively, and together they create a froth of overtones. Yet they are just as likely to rear back, with a clarion call from the saxophonist hailing a high-strung whine. Across the three-part performance they take in a number of different explorations, from wonderful growls and honks to sympathetic resonances and drones. Beyond this, there are even moments when—amidst compelling melismatic sections, or exchanges between buzzing metal and rough woody slashes—Jacoby sounds for all the world like Gidon Kremer doing Berg, with Shibolet perfectly sympathetic. A really nice duo.

 Jason Bivins, Cadence magazine