The program includes original compositions (e.g. Holcomb’s 13-minute suite “When the Comet Comes”), three free improvisations, and three covers (including Wayne Shorter’s beautiful “Armageddon.”). DSD recording in a small concert hall creates an intimate, palpable atmosphere.

Reduced to essentials, the differences as well as the similarities in their music stand out. They both possess notable techniques, but it’s the emotional resonances and luminosity of the playing that really stay with the listener.

As Robin put it: “We share a wide range of interests and influences. I entered the world of jazz very late in its history with the exuberant improvising of ‘free jazz’ whereas Wayne is much more familiar with earlier jazz forms. I have played more early American folk music and Indonesian music. We seem to both be mesmerized by the harmonic language of hymns, for no particular reason. We are both drawn to the bittersweet in both melody and harmony – I find that Wayne’s pieces have more of a ‘yanking’ quality to them – a lovely melody will get ‘yanked’ into a deeply bittersweet moment which then shimmers throughout the music. I think that my pieces may be more melancholy overall.”

Wayne replied: “Without question we have very different sounds and techniques, our training and backgrounds are different, although at the time that we first met and also became involved in musical projects together we were both very influenced by Cecil Taylor (pianistically) and all the music coming out of the AACM and the BAG (Black Artists’ Group). Also Keith Jarrett and Chick Corea etc. were very much in the air. As improvisors both of us share a sort of two-handed approach à la Cecil. Also we were being introduced to the music of Messiaen and John Cage and many other contemporary composers and hearing the connections between all those musics. Unlike Robin, however, I also have a more single-note ‘linear’ approach that comes from playing jazz at various times in my life.”

Solos implies all these stylistic connections and more (e.g. the impressionism of Debussy or the pared-down elegance of Satie). But its varying moods flow together into a personal, shared artistic statement.

“Beautifully recorded…an album filled with subtle beauty and moments of darkness…”
– John Kelman, All About Jazz

“…staggeringly beautiful…”
— New York Times

**** “[Holcomb and Horvitz] understand what makes music interesting, organic, and listenable.”
– Jeff McCord, DownBeat

“[Holcomb] is a category unto herself, a pianistic analogue, maybe, to the guitar approach of fellow Seattle resident (and periodic collaborator) Bill Frisell…a music that demands – and rewards – concentration. It could change the way you listen.”
– John Chacona, Signal to Noise

Wayne Horvitz, Piano
Robin Holcomb, Piano