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Karl Berger/Jason Kao Hwang: Conjure (True Sound)

A review of the album from the pianist/vibraphonist and violinist/violist

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Karl Berger/Jason Kao Hwang, Congjure
The cover of Conjure from Karl Berger/Jason Kao Hwang

While there is solid justification for the genre police to tag this music as free jazz or pure improvisation, that act of classification would ultimately be a waste of time. This is simply an instance of two people enjoying each other’s company, calling to spirits through sound, and revealing themselves through their art. Nothing more and nothing less. Labels need not be applied.

With an absence of musical planning, not a scrap of written material on hand, and no routines to fall back on, pianist/vibraphonist Karl Berger and violinist/violist Jason Kao Hwang got together and agreed to let open minds carry the day. They wandered and pondered, creating music that’s unburdened by structural norms and mildly disquieting in nature. Some pieces they produced draw on specific forms of maneuvering—“Prophecy” with Hwang’s gradational arco violin adjustments and Berger’s piano runes, “Below Zero” with Berger’s seesawing vibraphone and Hwang’s skulking pizzicato work—but most seem to avoid reliance on singular communicative tools and settings. This duo typically thrives on uncertainty while exploring a variety of textural subtleties.

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Dan Bilawsky

Dan Bilawsky has been involved in jazz journalism for 15 years. His work has appeared in JazzTimes, JAZZed, and All About Jazz, among other outlets. In addition, he’s penned liner notes for artists on Red, Capri, HighNote/Savant, Ropeadope, and other respected imprints. A band director with 20 years of teaching experience, he holds degrees in music from Indiana University, the Aaron Copland School of Music at Queens College, and Five Towns College.