Album Notes

A taut, developmental style, full of counterpoint.

The keyboard stylings of Bob Falesch reveal harmonies that owe as much to Alban Berg and Arnold Schoenberg as to Bill Evans or Cecil Taylor (who might be considered a prototype for Falesch's extreme physicality at the keyboard).

Bob Marsh - sometimes on flute, sometimes on cello - takes the unexpected turn almost every time. In spite of his unassuming style, he often intimates the structure of these fast-paced improvisations. Note Marsh's lead in the opening track, "one of 36" - as he steers the course of the piece into the dramatic stillness of the central, restful episode. Falesch picks up on it, and the two weave a very intense path out of the middle section and jointly stir up a hair-raising finale.

The remaining eight pieces exude similar energy, yet in a variety of ways and different sound worlds, with Marsh shifting from his cello to the flute, then back again, and with Falesch departing from his grand piano soundworld to spring the sounds of granular synthesis in the title track "co-lage" and fm synthesis in the final track, "presto electronica."