Two People - Two People
(Suzanne Frank and Paul Kramer)
NB: The duo's name is "Two People" as well as this eponymous CD.
The most difficult task for a composer or a performer is to create an individual style that is unique and personal. In Two People, Suzanne Frank and Paul Kramer accomplish this as they show various sides of themselves – quirky, melodious, angular, harmonious – all within a consistent framework of their own style. This is a CD that requires several careful auditions to catch the nuances that may be too subtle to catch on a single quick listen.
The playing of this duo has the sound of one big guitar. There is a great simpatico between them, and they react to each other’s presentation and phrasing as if they had been playing these pieces for decades, even though most are new for this CD. Their ensemble playing is particularly fine during a simultaneous rallentando, and their many changes of tempo.
Monster has the sound of a single “monster” guitar. Effortless shifts of tempo seem to depict the monster awakening, starting to lope along with a determined yet ungainly gait. This Gargantua even gets swinging after a while, but then slows to an uncertain, exhausted end.
Medieva is a lovely study in quasi-modal, note-against-note counterpoint, with flourishes. It is a refreshing counterpoint from the Monster as well, but still within their stylistic boundaries.
Carnival Blues is a wonderfully quirky take on the blues. The guitars lock into the same rhythms, sometimes with free ornamentation, sometimes in imitation of one another. They then blend into very rich harmonies, and continue with the blues, right up to the very bluesy ending.
Wilderness Suite is a set of three pieces:
i) Awakening is a modal piece with a lilting triple movement. (The melody is reminiscent of Emily Remler’s Waltz for My Grandfather, although the harmony is very different.) The guitars lock into the same rhythm, and then swap melodic and accompaniment duties. This evolves through a more “major” texture into a very rich harmonic texture.
ii) The Hunt is a somewhat out of kilter headlong pursuit. This is the most scratchingly dissonant piece yet. As the chase gets more frantic the accompaniment guitar is drawn into it, and the whole piece is more and more animated until it comes to a sudden stop.
iii) Abundance signals that this was a successful hunt. This is a slower, more relaxed, pentatonic movement. The lush atmosphere slowly morphs into a slightly tense feeling, then back to the original calm, centred mood, which ends the suite.
Esmeralda has the sound of a medley of short flamenco songs. There are bits and snatches of Malaguena (the song and the style) as well as other flamenco genres. Here we have suggestions of the many different influences that have shaped the style of these two people, sometimes stated baldly and sometimes absorbed smoothly. Frank and Kramer recorded this song on Frank’s earlier CD “First Flight”; here it is played with more confidence and flair, showing the considerable growth of this duo since 2006.
The Sky is Falling begins with a descending chord sequence, joined by harmonics which lead to a second part in increasing density, until it takes off into melody. Now the melody leads the song into new territory of much lighter character. Inevitably the opening sequence returns, but now softened by the melodic second guitar. This is one of the few songs to pit the guitars against one another in contrasting roles, and it is among the most successful.
Waltztango does indeed partake of characteristics of the waltz and of the tango, although the general air of restraint blends the two into a more common ground than one might expect. It is the elegant feel of the waltz that begins, and next the air of the tango that adds drama. This drama never gives way to histrionics or vulgar displays, but rather is reined in by a gracious waltz whenever it threatens to become overly emotional.
Study No. 1 for Paul Kramer (the duet version) was originally recorded on Frank’s “First Flight”. For the duet version she has added an obbligato part for herself consisting of supporting harmonics and additional melodies. Virtually the only flaws in the playing occur in a few less than pristine harmonics here. However, this points up an important facet of this recording: we are not dealing with a major artist who has the luxury of countless takes and edits to compile the “perfect” performance; we are hearing a real performance from first to last note, and usually first or second takes. This adds to both the enjoyment of the performance and the appreciation for this duo’s artistry that they can play at this level virtually on command.
Bossa Verde begins with a very catchy, chromatically-inflected melody. The third remake from “First Flight”, it is again a more confident performance and a more controlled presentation. This is the song that will stick in your head for weeks to come.
En Voyage is infused with a gentle rocking motion that suggests a voyage by train or perhaps boat. Sometimes rockier, sometimes slowing down, maybe even relaxing a bit, this trek continues in variations of the same mood, or perhaps with changing scenes for the same travellers until reaching its destination.
Tears is the one cover tune on this CD. Written by Django Reinhardt and Stephane Grappelli , it is one of their best loved songs. Frank and Kramer rise to the occasion with some of their most nuanced playing and most original arrangement ideas. The harmonized melodic lines and accompaniments that drift in and out of the melody are inspired.
Sleeping Dogs Lie is something of a daring choice to end the CD given its supposed soporific effect on at least one canine. (Both of mine stayed awake for this song, which may be a reflection of their taste, or perhaps their expectation of food.) In any case it is a gentle ending to the CD.
Except for the Study No. 1 that Frank wrote for Kramer, and the Reinhardt / Grappelli song, all songs were written by Frank and Kramer in a collaborative, improvisatory, experimental manner. This shows up in the penchant for short melodic ideas and progressions, as well as the tight ensemble, balance of parts, and locked rhythms and answering phrases. They maintain a consistent mood and level of interest throughout the entire CD. This is ‘mood music’ in the sense that it has a consistent feel from the first note to the last. The engineering of this CD by Bob Guido is top-notch, with clear and immediate tone that captures the beauty of the different guitars.
Comparing Two People to the earlier First Flight, it is obvious that Frank and Kramer have come a long way in a short period of time. This is a very mature sophomore effort, and heralds much more good music to come. As they grow in confidence and daring, they could well become a major force in the world of guitar duos.
You can listen to samples from this CD as well as order it from http://www.twopeople.ca/two-people.html and from http://cdbaby.com/cd/frankkramer.