Tyshawn Sorey, Pat Thomas

It doesn’t take long for the intensity to rise. A run of the right hand on the keys gives a warning, like the first few drops of rain before a thunderstorm. As Thomas’ left hand joins to plumb the bass notes, Sorey calls his metallics into play, whipping up the air around them before the humidity in the room breaks and the duo drop into momentary silence. Thomas reaches into the body of the piano - sounding some of the familiar language of Elephant Clock of Al Jazari before dropping some of those immense key clusters we’ve grown to know so well through his work in [Ahmed] and stacking them up into dense, rotating rhythms.

Sorey mixes light brush work with aeolian tones, at some points striking just the air to meet Thomas’ palm muted rhythms. Midway through the set the two players are joined in percussive pursuits, Thomas’ string slides totally enmeshed with Sorey’s clinical snare work. When Thomas lifts off into more celestial territory as the set builds, Sorey marshals his shuddering field drum towards one extraordinarily clean clasp of the hi-hat - a sort of musical gasp which the crowd can’t help responding to.

The pair are wildly dynamic, beautifully precise and in possession of innumerable talents. As Sorey’s mallet rush crescendos and fades, Thomas adds two single bass notes, as if to wryly say, ‘Ta-da!” You have to laugh - it’s ridiculously good stuff from two of the best at the peak of their powers.