As I write this, double bassist Kyle Motl is on tour, playing contemporary compositions for solo double bass by the great Romanian Spectralists Iancu Dumitrescu and Horatiu Radulescu, among others. The works Motl has chosen to play are all conceptually and technically challenging pieces that extend the range of sounds the instrument can produce and correspondingly, the performance methods required to produce them. On Transmogrification, Motl’s new solo CD, the bassist plays his own music. But here, as in his touring repertoire, his playing is informed by his fluency in the language of contemporary performance practices, allowing him to take the instrument to the edge of its known world.
The fifteen tracks are sequenced to trace a narrative arc starting with the concrete, largely conventional Panjandrums for pizzicato bass and moving through increasing stages of abstraction. Although he uses advanced techniques and often prepares the bass with foreign objects, Motl’s choices are always intelligent and above all, musical, no matter how far the distance he takes the bass from a traditionally lyrical sound. He’s particularly good at drawing percussive effects from the instrument with fingers, hands and a tautly bouncing bow. On several tracks he modifies the bass with objects inserted between the strings in order to envelop the notes in a rattling, buzzing sound; on others, he elicits a fascinating world of quasi-electronic sounds simply with nuanced bow articulations.
All in all, Transmogrification is a fine addition to the large and still growing catalogue of recordings for solo double bass.