As electronics continues to mainstream, an increasing number of bassists are venturing to explore not necessarily the limitless possibilities of electronic music, but rather, the subtle augmentation and enhancement of bass performance via electronics. The introductory material of Norwegian bassist Arild Andersen 's first track lndependency Part I on his CD Live At Belleville (2007) realizes the possibilities of col legno battuto technique by using live electronic process ing to accentuate the overtones that are often lost when applying col legno battuto. The work quickly depaits from its introspective introduction and embarks on harmonic adventures that explore minor mode tonalities that are idiomatic to the double bass. The bass pa.it drives a stable harmonic cycle that is coherent and poignant in its alacrity. All three musicians have obviously played together on numerous occasions. From the beginning of the first lndependency they establish collectively in lockstep an underlying pulse and feel that permeates throughout all the works on the CD. Mr. Andersen's tone is consistent in attack and sustain and facilitates a very intuitive melodic approach to improvised bass solos.
Baguyos, Jeremy C., "Review of Arild Andersen: Live at Belleville" (2009). Music Faculty Publications. 17.