I went back to see the last improvised performance of Running Under Bridges, a week after I saw the second. (I wish I had seen the first, too.)
This time, joining saxophonist (and co-creator of the project) Raymond MacDonald and guitarist George Burt was harpist Catriona McKay. Taking as their “score” the same images by Jo Ganter as before, with the same instructions and direction (and, indeed, some passages were recognisable between the two performances), it was a very different experience.
I can’t remember having seen an improvising harpist before, certainly not one playing steel bottle neck or tupperware on the harp. (There are a couple of jazz recordings I have which feature a harp, I think – one by Alice Coltrane, for instance.)
Having spent some more time looking at the exhibition of Ganter’s artworks and the images from which they were derived, as well as her fascinating animations of some previous performances of Running Under Bridges and a couple of improvisations by MacDonald and pianist Marilyn Crispell (a couple of videos are at the end of this post), it was easier to follow the way the musicians translated the abstract “score” into music – maybe to grasp what their process was.
This performance felt more intimate, as if the audience was watching something very raw and personal going on. Like we were eavesdropping a private conversation between the musicians. There is an openness that improvisation brings to an event – shared by the audience, too, because we need to be open to experiment (and, at times, disappointment) – and you never know what is going to happen.
Another fascinating experience.