Kadima Collective Recordings: KCR 20 
http://www.kadimacollective.com/KCR20.htm

* Peter Kowald: bass, voice
* Vinny Golia: woodwinds
 
http://www.efi.group.shef.ac.uk/mkowald.html 
http://www.vinnygolia.com/

Recorded on
  April 6, 2000 by Wayne Peet at Wayne Peet's studio, Los Angeles,
and
  May 9, 2000 by Wayne Peet & Vinny Golia at Newzone Studio, Los Angeles.

Reviews
~~~~~~~

By Stef 
http://www.freejazzblog.org/2009/07/peter-kowald-vinny-golia-mythology.html

For all practical purposes, I labeled this review as a sax-bass duo, but in
reality Vinny Golia plays Bb clarinet, bass clarinet, soprano, piccolo,
tarogato, Ab clarinet, contralto clarinet, baritone sax, alto flute, sopranino,
A clarinet, chinese flute and G flute. Kowald plays his bass throughout, with
half the tracks pizzi and half arco. Both giants of free improvisation had
actually never played together, met shortly when Kowald was traveling in the
US, recorded this performance, and they actually never managed to even discuss
what to do with the material, and then Kowald passed away. Luckily bassist JC
Jones from Kadima Records asked Golia whether he had any material with
bassists, and that's the how this album came to be.

About the music : fourteen relative short tracks, on which both musicians play
what comes to mind, yet the ease with which they find a common language is
possibly the most stunning part of this album. Some pieces are abstract, some
more melodic, some are abrasive, some tantric, some are intense, some hypnotic,
others are calm and subdued, yet despite all the variation and the differences
in mood and musical exploration, just a few scene-setting notes from one
musician are sufficient to have the other enter the dialogue in the same
language. The breadth of their musical baggage and the incredible scope of
sounds they can get out their instruments make this possible. Two examples. On
the sixth track Kowald's arco is accompanied by low monotonal tantric singing
on his part, with Golia's tarogato playing a very sad and melodious line over
it, and gradually they build up the momentum, the volume and the power of the
piece, slowing down to a state of peace. On the twelfth track, the longest one,
Kowald starts with repetitive arco phrasing, and Golia enters softly with
circular breathing on his A clarinet, and when the arco moves into the higher
regions with piercing sounds, the clarinet goes up too, with screaching
phrases, then going down again, then up again, like two birds in full flight
chasing one another, interchanging positions about who follows who, and the
improvisation indeed has something of the flight of the bumble-bee in all its
rapid progression. Every track has its own story, its own interaction. A rich
album by two creative minds who know/knew what music is all about.

--

By Nic Jones 
http://www.allaboutjazz.com/php/article.php?id=33790

By Wilbur MacKenzie 
http://www.allaboutjazz.com/php/article.php?id=35756