Majewski likes to use the Harmon mute, which sometimes recalls the more melancholy phases of Miles Davis's work, but he also invokes the more adventurous sounds of Bill Dixon or Don Cherry (who was the subject of his master's thesis). Every now and then his playing is doubled or processed by electronic means.
Suchar has a parsimonious approach to the drum set, choosing his sounds and rhythms sparingly. But because he calls on a broad range of musical devices at just the right time, he manages to draw listeners into trance-like states only to surprise them at just the right moment. The two work so closely together that sometimes it is impossible to tell who is doing what, and the sheer variety of their music, as well as their judicious use of electronics, makes them sound like a much bigger unit. At first glance, they could be compared to the Chicago Underground Duo, which uses the same instrumentation. But Mikrokolektyw has a very different aesthetic, and their approach to rhythm as well as their use of electronics distinguishes them from their Chicago friends.
On September 22 Mikrokolektyw will play at Kerrytown Concert House, joined, toward the end, by this writer on saxophones and clarinet.
[Originally published in September, 2011.]
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