Studio Toile d’Angles was carved out of a near north Minneapolis lot and erected next door to the home of Milo Fine, Minnesota’s least compromised multi-instrumentalist, composer and instigator of modern music. Rectangular and sunk in the land, it is maybe 18 x 30 feet; the roof points to high north and descends covered with solar panels toward the south and inside meets a wall ten feet above the floor. A kitchenette and bathroom are in a back corner. No street shoes permitted. Twenty or so moveable padded chairs, a couch and cushions are set in loose rows seven feet from Cox and his cello. The front row audience is six feet from the end of Fine’s black lacquer Bosendorpher Imperial piano. It is nine feet six inches long and includes nine notes lower than a concert grand’s 88. Debussy, Bartok and Ravel were early adopters. Capable, I am sure, of near-Richter scale waves, Fine’s often emphatic playing still left space for Cox’s bowed, plucked, tapped, and picked cello. ...