Erfolgreiche Suche nach dem gemeinsamen Nenner

Mit „Curiosity“ gelingt dem Kaleidoscope String Quartet eine neue Klangdefinition des Streichquartetts

Kaleidoscope String QaurtetSchon seit Jahrzehnten gibt es ein paar Streichquartette, die von der reinen Lehre abgefallen sind. Das Kronos Quartet und das Turtle Island Quartet (interessanterweise beide aus San Franzisco) oder das Modern String Quartet in Deutschland betrieben seit den Siebziger und Achtziger Jahren, was man so unglücklich als Crossover bezeichnet hat. Doch erst mit der Genre-sprengenden und Stil-übergreifenden Bewegung des europäischen Jazz aber hat die Streichquartett-Szene wirklich Fahrt zu einem eigenen neuen Format aufgenommen. Ensembles wie das radio.string.quartet.vienna aus Österreich, das Atom String Quartet aus Polen oder das ursprünglich rein klassische Quatuor Ebène aus Frankreich eröffneten der Besetzung neue Wege.

Neue Maßstäbe

Das Schweizer Kaleidoscope String Quartet setzt jetzt mit seinem zweiten, beim Berliner Traumton Label erschienenen Album „Curiosity“ noch einmal neue Maßstäbe.Das mag damit zusammenhängen, dass die vier Musiker, abgesehen von der so gut weil allen Streichern gemeinsamen klassischen Basisausbildung aus ganz verschiedenen Ecken kommen.

Geiger Ronny Spiegel hat sich neben zahlreichen Konzertmeister-Tätigkeiten bei klassischen Orchestern wie der Sinfonieorchester Tifico und Nota Bene,dem Neuen Züricher Orchester, des ad hoch Ensembles, der Zuger Sinfonietta oder der Camerata Schweiz vor allem in der Klezmer – und Balkan-Szene getummelt.

david_schneebeli_portrait_aBratschist David Schnee hat sich neben dem Züricher Galatea-Quartett insbesondere auf freie Improvisationsmusik verlegt und leitet einen Musiker-Pool für Filmmusiken.

Cellist Holme Song ist von der härteren Fraktion und spielt vorzugsweise in Rockbands.

 

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Und der Berner Geiger Simon Heggendorn, sozusagen der Primarius und vorrangiger Komponist des Quartetts, hat neben dem Konservatorium auch die Swiss Jazz School absolviert. Dass alle vier stets einen gemeinsamen Nenner suchen, dabei aber ihre jeweiligen Qualitäten einbringen, macht das Besondere und Überraschende von „Curiosity“ aus.

 

Klassischer Ton und Jazz-Spirit

Schon beim Opener „Sommer“ wird die fröhlich-klassische Grundmelodie auf verschiedenste Weise gebrochen, durch harte Pizzicati, Ausritte in südosteuropäischen Melos oder folkige Riffs. Das folgende „Winter“ übertragt das ins elegisch-getragene Moll. Die meisten Stücke, vom „Choral“ bis zur „Rhapsody in D“, arbeiten mit extremer Dynamik und dem spannungsreichen Kontrast aus weichen, gezogenen Linien und synkopiertem Stakkato sowie aus harmoniebetonten Melodien und dissonanter Begleitung. Ein enormer Fundus, der dem Titel „Kaleidoscope“ mehr als gerecht wird.

Die vier selbst scheuen sich, einen Stilbegriff für ihre Musik zu verwenden. Im Ton sind sie klassisch, ihr Material aber ist wie bei einer Rockband selbstgeschrieben und selbstbestimmt, und die Aufführungspraxis wiederum ist vom Jazz-Spirit durchdrungen, verändert sich doch der konkrete Klang der bis auf Solopassagen ausgeschriebenen Stücke im Zusammenspiel von Konzert zu Konzert. Dazu passt, dass das Kaleidoscope String Quartet im Januar mit dem Jazz Orchestras des SwingBop-Altmeisters Joe Haider (gemeinsames Album: „Keep It Dark“) auf Tour geht. Beweist es doch, dass sich der Jazz auf zwei Arten immer mehr der klassischen Musik nähert: Als „Zweite Klassik“ einer historisierenden Repertoire-Musik und – wie „Curiosity“ eindrucksvoll belegt – als die eigentlich moderne komponierte Kunstmusik.

Kaleidoscope String Quartet: „Curiosity“ (Traumton)
Live in Cully, Cully Jazz Festival, Temple, 08.04.2016

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Grand Pianoramax : SOUNDWAVE LP on Mental Groove Records

Update 02.2016: “Soundwave”, the fifth album of US/Swiss trio Grand Pianoramax will be released internationally on 29 January by the German Word and Sound label. Grand Pianormax will also be playing at Cully Jazz Festival on the 08.04.2016. Take this opportunity to read our review again!

photoaccueilsite2Reading over my notes taken while listening to the latest Grand Pianoramax LP just released on Mental Groove Records, the word ‘bouncy’ makes a frequent appearance. This may seem a trite concept to use when describing a band that over the years has become known as the Swiss heavyweight supergroup of post jazz, art rock and hip hop. But it does go to show that the aim of being “lighter, brighter, more fun” – to quote bandleader Leo Tardin – has been accomplished.

A fresh and spontaneous approach

Produced and mixed by ‘pugnacious’ drummer, Dom Burkhalter, the LP was recorded in his studio in an almost live situation with a fresh and spontaneous approach. “We wanted to keep it direct and imperfect somehow: upright piano with creaky pedals, old Fender Rhodes, analogue synths – a chilled attitude, nothing too perfect” explains Tardin. Following on from the Big Easy EP released last May, SOUNDSCAPE continues the “more accessible, less dark” theme that the band had already prepared us for. And why not? Nothing wrong with a bit of sunny Steely Dan-inspired melodies to help the foot-tapping along even when you’re an experimental bunch of musical giants.

There’s as much rule-breaking here as there is on the earlier ‘darker’ albums

But to define the LP simply in terms of fluffy adjectives is far from half the story. Yes, it’s the perfect soundtrack for a sun-roof-down drive along the south of France, but there are challenging twists and turns around every corner. Tempos come and go, unsuspecting chopped up beats hit you in the face, lyrics are sharp and cutting – in brief, there’s as much rule-breaking here as there is on the earlier ‘darker’ albums. Tardin is keen to emphasize:   “It’s actually easier to be dark and dramatic than it is to be simple but solid. This is not straight music, there’s experimentation happening on every track. ‘No Doubt’, for example, is essentially a disco track set to a very unusual 7/4 beat”.

Fans of his pretty, lyrical touch will not be disappointed

There’s a good ratio of vocal and instrumental tracks here, the latter giving space to more journeying on behalf of the keyboards. The old Fender Rhodes gets quite a bashing on ‘Tight Rope’ recalling a funky mid 70s Herbie Hancock/George Duke style that suits Tardin rather well and could do with further exploration in the future. Fans of his pretty, lyrical touch will not be disappointed, there are some gorgeous sweeping moments where being carried away on the wave of Tardin’s dexterous style is nothing other than a pleasure.

Charismatic experimentation and radio-friendly sparkle

But essentially, Grand Pianoramax are known for their foray into beats and hip hop which Black Cracker‘s edgy, poetic vocal style encapsulates so well. Totally enveloping and slightly less razor sharp than usual, his timbre is just perfectly suited to the jazzy, understated, choppy groove. Nothing in his lyrical content is ever over-done or insincere. The trio are famous for being a powerhouse live act, all bark AND bite, but on this album the slightly more laid back, crossover attitude is in no way a detracting dumbing down. On the contrary, warm and colorful like the cover, it’s an album full of charismatic experimentation and radio-friendly possibility.

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Band line up:

Leo Tardin – piano & keyboards
Black Cracker – vocals
Dom Burkhalter – drums

Forthcoming live gigs:

28th Nov, 2015: Moods, Zürich, CH
27th Dec, 2015: Bee Flat, Bern, CH

Kaos Protokoll, punk-jazz provocators

Photo by Brigitte Fässler

Photo by Brigitte Fässler

Swiss trio, Kaos Protocoll are fond of sweeping statements: « Punk-jazz provocators », « No concept as concept », « No track ends as it begins » – these are just some of their cheeky mantras aimed at focussing your listening toward the left-field attitude they strive to cultivate. Freshly released on the Prolog Music label, Questclamationmarks is their second LP which the band describe as being more mature, complex and mysterious than its previous little brother, largely inspired by a recent tour across Eastern Europe and Russia during which they excelled in their live performances, honing their various radical free-jazz, funk and electronic influences.

 

« Rough in attitude but very well structured »

The driving wheel behind this LP is British pianist and composer, Django Bates, a familiar name on the Swiss German jazz scene since his appointment as Professor of Jazz at HKB school in Bern. His role as producer came about after stumbling across the band during a live gig. Vague inflections of Loose Tubes-inspired mayhem sit well next to the chaotic, busy style that has become the band’s trademark, especially appreciated in live situ. But Prof Bates’ presence is gratefully felt here in the clarity of composition, arrangement and production, resulting in a body of work that is « rough in attitude but very well structured » to quote bass player Benedikt Wieland. The beast has not been totally tamed, just steered in a direction where the mish-mash of influences and barrage of sound have been refined, organised and, to some degree, conceptualized. As a result, it’s more of an unpredictable but elegant carousel ride, rather than a dirty punk collision course.

Enthusiastic, clean and fresh

A good case in point is the track « Ein Stück zum Mitsingen » – lots going on here: crazy bebop singing melodies, pounding wall of sound beats, furious sax à la Greg Osby, all chunky and funky with a definite giggle going on, wrapped up in a perfect package and just the right duration for the laugh to tickle. The sound is enthusiastic, clean and fresh. “Maybe you” is equally playful with its hide and seek game of tempo and style. Unusual, but not unsuitable German rap makes an appearance in “Pathos Ratlos featuring Baze”, a place where wobbly jazz synths and broken beat melodies suit the grave but not too serious poetic narrative. Winding down the ride is the melodica-friendly “Wiegelied”, a warm and soothing lullaby ending their enigmatic, confident journey.

A mercurial piece inspired by their concert in the secret Russian city

A short film has just been released to accompany “In the Secret City”, a mercurial piece inspired by their concert in the secret Russian city, K26. Benedikt Weiland explains: “A man runs through the secret city at night. He sees scenes that are independent of each other, very abstract and without clear identification. For example, a woman holding a flowerpot while a man is floating in the air! A horse, led by a non-recognizable prancing creature, a corpulent elderly man walks out of his house carrying a briefcase. Just as the song unravels different moods, so do the images which feature different worlds that somehow have a relationship and are linked together by the runner. The images are also a little bit chaotic, abstract and analogous to our sound!”

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Band:

Benedikt Wieland (bass, FX)

Marc Stucki (sax, melodica, FX)

Flo Reichle (drums, electronics)

 

 

Forthcoming live dates:

19/11/15 – Le Singe, Biel (CH)

20/11/15 – Jazzclub, Gera (DE)

21/11/15 – Cuba, Münster, (DE)

23/11/15 – Jazzclub, Abensberg, (DE)

24/11/15 – Waldsee, Freiburg, (DE)

27/11/15 – Moods, Zurich (CH)

28/11/15 – Jazzclub, Erfurt, (DE)

29/11/15 – Glashaus, Bayreuth, (DE)

30/11/15 – Schon Schön, Mainz, (DE)

 

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