Burkhard Stangl & Michael Moser

Guitarist Burkhard Stangl and cellist Michael Moser are equally adept with precisely notated material and delicate free improvisations; on the 1995 debut by the quartet Polwechsel, with which the two Austrians have previously visited Chicago, they’ve combined the two to build intricate abstractions on double bassist Werner Dafeldecker’s skeletal compositions. The four compositions on Moser’s new solo CD, Violoncello (on Dafeldecker’s label, Durian), likewise borrow freely from improv’s atomic language. Both players augment their mastery of acoustic instruments with electronics and computers, and both use sounds, rather than notes or chords, as their raw material: on “Teint,” the centerpiece of Stangl’s new solo album, Recital (also on Durian), he uses an EBow to coax an uninterrupted but constantly evolving 15-minute-long stream of sound from his electric guitar, then vaporizes it in a boiling feedback meltdown that resolves into resonant, widely spaced notes from a grand piano. The first half of Moser and Stangl’s concert this Tuesday will consist of solo performances that celebrate the release of these discs; after that they’ll mingle with four like-minded improvisers: Dafeldecker, instrument inventor Hal Rammel, guitarist and Reader contributor John Corbett, and bass clarinetist Gene Coleman. That’s at 8 PM at the Chicago Project Room, 1464 N. Milwaukee; 773-862-9209 or 773-227-2215. Coleman will also improvise in a trio with Stangl and Moser at 5 PM Sunday at HotHouse, 31 E. Balbo; 312-362-9707. And next Friday, June 19, at 7 PM, he’ll perform three of his compositions with Stangl, Moser, Dafeldecker, and members of Ensemble Noamnesia at the Arts Club of Chicago, 201 E. Ontario; 312-787-3997. BILL MEYER