Ephrem Lüchinger: «Are You Prepared?»

are you prepared

Vor sieben Jahren ging der Pianist Ephrem Lüchinger für zwei Tage ins Studio, improvisierte und experimentierte alleine mit seinem Instrument, das der Zürcher mit allerlei Gegenständen präparierte. Das Material, das in diesen Tagen entstanden ist – zeitweise in Begleitung des Posaunisten Michael Flury – jagte Lüchinger später durch den Laptop, verfremdete und arrangierte die Klaviersounds neu und setzte sie zu 34 Stücken zusammen, die nun, auf der CD-Trilogie «Are You Prepared?» zu hören sind.

Ephrem Lüchinger – Are you prepared from ephrem lüchinger on Vimeo.

Entstanden ist eine reichhaltige Sammlung an neugierigen Klängen, die wahlweise technoid schimmern, romantisch schillern und auch popnah dahinschlendern können. Soundclips, Tracks und auch Songs sind auf «Are You Prepared?» zu hören – und die Trilogie entpuppt sich mit dieser Formenvielfalt auch als Suche nach den sonischen Grenzen des Klaviers, eine Suche, die allerdings scheitert. Denn Lüchinger, der in zahllosen Bands seine Spuren hinterlassen hat, entdeckt in seinem Instrument zuweilen Sounds, die man auch beim dritten Hördurchgang nicht mit einem Klavier in Verbindung bringt. So ist «Are You Prepared?» eine überaus lohnenswerte Reise in den Saitenkasten eines Instruments der unbegrenzten Möglichkeiten. Möglichkeiten, die Ephrem Lüchinger verspielt und doch konzentriert auslotet.

Ephrem Lüchinger, “Are You Prepared?” (Dist CH Irascible)

 

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Interview: Johann Bourquenez of Plaistow

©Janice Siegrist

©Janice Siegrist

Johann Bourquenez is hardcore

As Johann walked into the hotel for our first meeting, I got Plaistow‘s music. Dressed in black, head shaved, lean – he is stripped back. There’s an aroma of smoke and an intensity quivering a hair’s breadth beneath the surface, a rapid rhythm. The albums, Citadelle and Lacrimosa, with their trance-inducing repetition, microscopic detail and Johann’s rounds of claustrophobic piano notes, feel driven by a desire for the raw and pure. It didn’t surprise me when he said in preparing for the next album (due out in April 2015) he woke at 6am, worked 8 hours at the piano, then took a bike ride in the evening…every day for a month. It could be said Johann Bourquenez is hardcore.

‘…maybe it’s better not to go too far with this’

French-born and studying jazz in Toulouse, he met drummer Cyril Bondi doing a gig in Geneva. Their connection is the cornerstone of Plaistow, you can hear it on the albums. Johann moved to a squat in Geneva (‘a big house full of crazy people’) and he played regularly with Cyril, but not seriously (‘I was partying a lot.’). Eventually they felt there was something worthwhile, ‘I said to Cyril, OK but I’m a very crazy guy so if I do a band…I will do it very seriously, very deeply, and I will expect people around me to do the same, so maybe it’s better not to go too far with this, and he said, ‘No, no, no, no, you don’t know me, if I do a band it’s going to be a mother******.’ So we decided to do it.’ That was in 2007 when they recruited, Raphaël Ortis on bass, though more recently, Vincent Ruiz on double bass.

johann_bourquenez_feat_plaistow‘You have to be physically be in the present’

Their musical angle comes from Johann’s early years of immersing himself in drum ‘n’ bass and techno (he has currently got Rrose on rewind), using machines and synths, ‘I had many years of this kind of experimentation with electronics…and computer noise stuff.’ At one gig, pre-Plaistow, fed up of lugging equipment around, Johann decided to play acoustic piano – opening it up to use the strings to create a more powerful sound. ‘I can play this piano the way I played all those machines, but I found the significance of every move I make is very important , if I don’t move there is nothing, if I do a very small thing it is very meaningful…The movement – that is very important…you have to be physically be in the present. So, I said with Plaistow let’s pretend we are just a jazz trio but we actually are filled with techno and noise walls…let’s make that music but with acoustic instruments.’

‘I will take your brain, trust me…’
Plaistow au Centre Culturel Suisse (Paris) ©Simon Letellier

Plaistow au Centre Culturel Suisse (Paris) ©Simon Letellier

To take these ideas further the art and animations of Nicolas Berger will be integral to the new album. Johann understands that visuals [on a cinema-sized screen] can divert attention from the music so they need to be justified by making the performance an immersive experience. ‘It’s an old fantasy of mine, I would like to have a two hour concert the way you would do with a DJ set – I will take your brain, trust me, and then I give it back to you at the end.’ This best sums up Plaistow’s raison d’être, it reminds me of the theatre of Artaud or Stravinky’s Rite of Spring – primal yet with a care for the concept of ceremony, event, people.

In fact Johann’s next project is the Great Noise Choral which will debut in December. It will feature, ’20 to 30 people only using voice and making some noise’. I’m certain it will be something pretty hardcore.

Plaistow live @ London, Pizza Express, 20 November (London Jazz Festival)
Liepaja (Latvia), Hiks Hall, 27 nov
Cesis (Latvia), Vidzeme Concert Hall, 28 novembre
Daugavpils (Latvia), Mark Rothko Art Center, 29 novembre

The Great Noise Choral at AMR Jazz Club in Geneva, 19 & 20 December

 
“Lacrimosa” to be released on vinyl, November here!
Plaistow on Facebook

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Colin Vallon speaks about “Le Vent”

Colin Vallon © Petra Cvelbar“Le Vent” is Colin Vallon‘s second album for the prestigious label ECM. Listening to it, or to him speak, you might think he’s a bit soft – a gentle soul. There’s a distinct aesthetic to his playing, it’s mindful and sombre as if remembering a lost love. Interviewing him, I found an assured and fiery spirit; a pianist with a clear intelligence, driven to carving out his own, individual path.

“From the moment I could stand I tried to press down the keys”

Music was always around Vallon – when most families were arguing at Christmas, his was gathering at the ever-present piano, singing hymns and Gospel. “I loved the sound of the instrument, from the moment I could stand I tried to press down the keys”. Despite this, he quit piano at the age of 12 because he could no longer play by ear and reading music frustrated him. Then two things happened: his uncle taught him some blues chords that he could play, “Without paper in front of me” and he saw a solo concert of Keith Jarrett, “It was really amazing to hear that.”

He returned to music lessons at 14 and began composing. By 19 he was at the University of Arts in Bern and had his own trio. Here he found the American theory of copying the standards until you could imitate them too restrictive. “But this was also very good for me,” he says, “because it meant that if I wanted to do something of my own then I had to do it really on my own and to be more didactic in terms of composing. I was really independent.”

“It’s a music that has something very raw about it”

However the composition tutor, Frank Sikora, inspired Colin and for his class he recorded, “A huge fence or gate that was screeching, making harmonics and noises.” By 2002 he developed this interest in strange sounds with prepared piano techniques and had begun an enduring curiosity for Eastern European music. “It has something very raw about it and, like this fence maybe [that he’d recorded], it’s a very different sound and it’s something that caught me immediately.” He joined a band with the saxophonist Sascha Schönhaus playing Balkan music and discovered one of his “desert island records”, Le Mystère des Voix Bulgares.

A journey in Albania

Meeting Elina Duni provided fertile creative soil as Albanian music opened up to him and the Trio’s third album, (their first for ECM) was entitled Rruga, the word for “path” or “journey” in Albanian. It was critically acclaimed, so did this make it hard to follow? “There was a bit of pressure,” admits Colin, “not from the label, but from myself..it’s hard to come with a second album…and changing the drummer [from Rohrer to Sartorius], but in the end I’m really happy with the results.”

“There are a few goodbyes, a tribute to Asita Hamidi”

Colin found his material came naturally as he dealt with several deaths and saw a suicide jump from a bridge. “Le Vent was an elegiac album, a lot to do with death…and the passing of time and life. It sounds really dark but it’s not just about that…There are a few goodbyes, a tribute to Asita Hamidi [the harp player] who died…things that are a part of life but I needed to express somehow.” It’s Vallon’s careful listening for, then stating his own truth, that makes him a compelling artist.

Colin Vallon “Le Vent” (ECM)

On tour:

26/04/14 Jazzahead, Bremen DE
27/04/14 A-Trane, Berlin DE
29/04/14 Mokka, Thun CH
30/04/14 Bee-Flat, Bern CH
03/05/14 L’Azimut, Estavayer-Le-Lac, CH
13/05/14 Mokka, Thun CH
17/05/14 AMR Genève, CH
27/05/14 Mokka, Thun CH
01/06/14 Green Hours Festival, Bucarest RO
07/06/14 Paris Jazz Festival, Paris FR

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