kaleidophon 2012 - Jazzatelier Ulrichsberg

Transcription

PRESSESPIEGEL
KALEID O P H O N 2 0 1 2
freiStil-Magazin,
Wels
Ulrichsberger Kaleidophon 2012 - Pressespiegel
Fotos:
oben: DD Kern (K. Cetriolo)
links: Tim Daisy (Günther Gröger / groxpress.at)
freiStil-Magazin,
Wels
freiStil-Magazin,
Wels
freiStil-Magazin,
Wels
trumpeter Leonel Kaplan and Viennese computer
manipulator Christof Kurzmann. If Butcher ’s playing
was sympathetically creative with that trio, his
improvising was equally spectacular with The
F E S T IV A L RE P O R T
Apophonics, a new group with British bassist John
Edwards and Bay-area percussionist Gino Robair.
Meanwhile Daisy subtly paced the chamber-styled
string-and-horn quintet Wrack as well as added
rhythmic heft to saxophonist Dave Rempis’ Percussion
4Tet, whose raucous free jazz closed the festival to
enthusiastic audience cheers.
These were just four of the memorable
performances that took place during the 27th edition
of the Kaleidophon, which annually animates this
alpine village of fewer than 3,000 people, about 200
kilometers west of Vienna. What’s equally remarkable
is how artistic director Alois Fischer not only attracts
high-quality players from Europe, Japan and the US to
the Jazz Atelier, a 16th century former pig barn, during
the fest, but also programs innovative improvised
music throughout the year. It’s a European phenomenon
that can make outsiders envious.
Built around extrasensory sonic perception, The
Apophonics’
strategy
advanced
amoeba-like,
continuously melding and breaking apart timbres in
different configurations and with varied possibilities:
Edwards’ super-speedy wood and string smacking
was sometimes appropriately violent; Butcher ’s output
John Butcher and John Edwards
Zorn to staccato reed bites
jumped from sonorousJohn
glissandi
Robair ’s holistic approach sometimes seemed
London saxophonist John Butcher and Chicago Fand
estival de Musique Actuelle de Victoriaville (FIMAV,
child-like as he smacked his mallets on the stage floor,
drummer Tim Daisy were the MVPs during the or Victo as it’s known to frequent attendees) is a special
rubbed a violin bow on drum rims and literally blew
Ulrichsberger Kaleidophon (Apr. 27th-29th). To stretch event, a festival nestled in a bucolic Quebec hamlet
on the drum skin. The saxophonist’s lines could be
the metaphor further, Butcher was doubly valuable, that, since 1983, has mixed free jazz, avant-rock,
sonorously wispy or could consist of reed fingersince as a pinch-hitter he replaced Una Casa/ electronica, all manner of improvisation and theatrical
tapping or using foot-pedal-controlled electronics to
Observatorio’s third member when its saxophonist crossovers under the very open French rubric of
pick up the feedback generated as he moved his tenor
was unable to perform with Buenos Aires-based musique actuelle. Artistic Director Michel Levasseur
in different arcs without blowing into it.
trumpeter Leonel Kaplan and Viennese computer has taken the unlikely and utopian notion of a radical
This technical versatility and familiarity with
manipulator Christof Kurzmann. If Butcher ’s playing music festival in his hometown and somehow made it
electronics also served as entrée to Una Casa/
was sympathetically creative with that trio, his work. Part retreat and part full-immersion baptism,
Observatorio’s gameplan. As quivering, synthesized
improvising was equally spectacular with The FIMAV 28 (May 17th-20th) presented 19 concerts over
static produced by Kurzmann’s “ppooll” interface
Apophonics, a new group with British bassist John a four-day period.
underlined the performance, Butcher used key
Edwards and Bay-area percussionist Gino Robair.
This year ’s opening event was a special occasion,
percussion, gurgles and expelled unaccented air to
Meanwhile Daisy subtly paced the chamber-styled as some 30 local singers gathered for one of British
make common cause with Kaplan’s multiphonic
string-and-horn quintet Wrack as well as added vocalist Phil Minton’s Feral Choirs. With three days of
wheezes. The trumpeter not only inflated his cheeks à
rhythmic heft to saxophonist Dave Rempis’ Percussion intense workshops, Minton and the choir had reached
la Dizzy Gillespie to force air out of his horn, but at
4Tet, whose raucous free jazz closed the festival to out to one another to find fresh potential in the human
points held his horn horizontally to blow into
enthusiastic audience cheers.
instrument, including a whistling procession to the
(CONTINUED
ON PAGE 38)
These were just four of the memorable stage and various massed
whispers, conversations,
performances that took place during the 27th edition drones and chants that gradually assembled into a
The New York
Jazz Record/New
York
of the Kaleidophon, which annuallyJazzWord.com/Toronto
animates this work und
of substantial
and City
sustained
impact. Minton
alpine village of fewer than 3,000 people, about 200 creates a community of free voices that combines both
Ulrichsberger Kaleidophon FIMAV
Photo by Helmut Berns
by Stuart Broomer
Photo by Martin Morissette
(c) Susan O’Connor, www.jazzword.com
by Ken Waxman
has tak
music
work.
FIMAV
a fourTh
as som
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created the taut friction that epitomized free-form calls h
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Rempis’ Percussion 4Tet also offered an updated
music
variant of
energy music:
the PAGE
leader13)
’s alto and tenor (MOER
(FIMAV
CONTINUED
FROM
(ULRICHSBERGER CONTINUED FROM PAGE 13)
saxophone lines often came across as if played by a Maïko
modal
combination
Charles
Gayle andplayed
Big Jaya McNeely;
of stringsof while
Friedlander
brilliant images
individual valves. Key to the interaction was a buzzing trio
Miche
Ingebrigt Håkerpiece
Flaten
and and
thickly
unaccompanied
thatrigidly
minedpulled
Flamenco
its festiva
timbral exchange that occurred between the horns.
of bra
stroked his bassroots.
strings while Daisy and Frank Rosaly nostalg
Another instance of electronic interface came from middle-Eastern
of unr
pummeled
ruffs, claps and
bangs
drum
kits. finally,
While Friedlander
invoked
anfrom
olderdual
guitar
music,
the No Business for Dogs trio, which used graphic
trump
Surprisingly,
when nota wedded
the backbeat,form,
both with
E
Morris embodied
furious to
contemporary
scores plus processing to link Juun’s piano harp with Joe
Superm
percussionists
subtle rhythms
well:
Rosaly
runsproduced
of unthinkable
velocityasand
walls
of abetted
the unison pressure from the drums of Bernhard Breuer combining
like sa
with graceful
strokes
and Daisy
with Evans
in thetap-dance-like
ear-bleed volume
of Spanish
Donkey
and Steven Hess. Although excitement was engendered distortion
turnta
cleankeyboardist
pops.
Jamie Saft and drummer Mike Pride, voices
by lockstep cymbal clacks and bass-drum smacks, with
Taking
Rempis’variation
go-for-broke
brutality
one that
step nonet
Ea
medieval
of the
organ trio
temple-bell-like or marimba-approximating inferences an oddly
accele
further,
trombonist
Matthias
Olaf ‘party
deviated
from its
tortuousMüller,
motto inguitarist
an hour-long
from the piano strings ensured there was an overlay of never
percus
Rupp and drummer Rudi Fischerlehner - all based in Cuba;
delicacy as well. More chamber music-like were a improvisation.
- elect
Berlin
- reconfigured
a heavy
metal Mary
trio’s Defunk
For sheer
collective spirit
and invention,
series of miniatures performed by Munich-based
unified
instrumentation
for improvised
quintet
had few music,
peers, with
her Müller
edgy, Whate
soprano saxophonist/bass clarinetist Udo Schindler, Halvorson’s
Renéqu
and Rupp as the two leadguitar
voices.pressing
Often cradling
his was
the more
cellist Margarita Holzbauer and tabletop guitarist sometimes-pitch-twisting
that
instrument timbres
vertically,
Rupp’s
distorted
fingeringand
or funky,
of Jon
Irabagon’s
saxophone
Harald Lillmeyer. Low-key and elegant, concerned traditional
experi
single-lineFinlayson’s
picking united
with
Fischerlehner
’s hard bigges
trumpet
into
uneasy heterodox
with subtle tonal shifts as well as extended techniques, Jonathan
of exis
smacks and
press Miles
rolls to Perkin,
drive theoriginally
tunes forward.
So
Bassist
from
there were points at which pauses were too elongated textures.
T
Meanwhileled
the an
substitution
of Müller
’s horn
forBritish
a rock The D
Manitoba,
international
quartet
with
and solos too minimalist.
with
band’s electric
bass added
taste
to theBenoît
trio’s Delbecq
forceful detail
Tom Arthurs,
French
pianist
On the other hand Wrack’s tactics uniquely trumpeter
tromb
interpretations.
The trombonist’s
facility Perkin’s
with a writing
Montreal drummer
Thom Gossage.
mingled the qualities of so-called classical music and and
Mitche
plunger, handcreated
mutes and
slide positions
meant
that his quickly
a continuous
stream
of melody
jazz improv. Oboist/English hornist Kyle Bruckmann compositions
impro
tongue
jujitsufrom
and the
staccato
braying
brought
passionthe
as piano
passed
written
heads
throughout
and violist Jen Clare Paulson provided the airy sonority that
isolate
well as
to the
forefront.If the festival seemed at with
c
in power
a smooth
continuum.
- somewhat leavened when Bruckmann wrenched his solos
an ext
everything
from
a solo Jozef
to beother
a talesets
of showcasing
two cities, Montreal
and
Chicago,
straight horns’ tone into narrowed shrillness - while timesWith
fun-ho
violin recitalMatana
of contemporary
notatedthem
music
to a siteRoberts brought
together
in Dunn,
bassist Anton Hatwich and Daisy maintained jazz saxophonist
U
specificdehappening
encompassing
schuhplatten,
drone melodi
couleur libres”,
a work inspired
by Africanrhythms. Meanwhile the slurs, cries and honks “Gens
multiguitars, action
painting
and free samples
of luncheon
history
and performed
by an ensemble
she equiva
masticated from bass clarinetist Jason Stein’s reed American
radica
meat,her
the “Montreal
Kaleidophon
truly
livedfound
up to fresh
its designation
10”,
which
ways to Europe
created the taut friction that epitomized free-form calls
renew
as a festival
types of advanced music. v
Europe
combine
textfor
andallimprovisation.
improv.
There is always strong representation of Quebecois never
Rempis’ Percussion 4Tet also offered an updated
For mo
More information
jazzatelier.at/kal_e.htm
at FIMAV visit,
and this
year was no exception. The stitche
variant of energy music: the leader ’s alto and tenor music
saxophone lines often came across as if played by a Maïkotron Unit, the long-standing trio that combines Dus-Ti
combination of Charles Gayle and Big Jay McNeely; modal and free jazz improvisation with reed-player been b
Ingebrigt Håker Flaten rigidly pulled and thickly Michel Côté’s “maïkotrons” (homemade combinations were p
stroked his bass strings while Daisy and Frank Rosaly of brass and reed instruments that burble with a host the Pan
pummeled ruffs, claps and bangs from dual drum kits. of unrelated sounds), played a fascinating set with two ba
Surprisingly, when not wedded to the backbeat, both trumpeter Stephen Haynes as guest. Ensemble hiphop
W
percussionists produced subtle rhythms as well: Rosaly Supermusique assembled leading Montreal figures
with graceful tap-dance-like strokes and Daisy with like saxophonists Jean Derome and Joane Hétu and Hampe
turntablist Martin Tétreault in an electro-acoustic was ni
clean pops.
Taking Rempis’ go-for-broke brutality one step nonet that playfully mixed and mangled genres at an of his
further, trombonist Matthias Müller, guitarist Olaf accelerated pace, eventually launching an extended handfu
Rupp and drummer Rudi Fischerlehner - all based in percussion piece that seemed to turn the entire group of dau
Berlin - reconfigured a heavy metal trio’s - electronics and strings included - into a brilliantly dubiou
instrumentation for improvised music, with Müller unified drum-kit. The Victoriaville-based violist Jean saxist
JazzWord.com/Toronto und The New York City Jazz Record/New York
and Rupp as the two lead voices. Often cradling his René led a particularly thoughtful project, a quartet bass-d
38 July
2012pieces
| THE from
NEW numerous
YORK CITY
JAZZ RECOR
Burgw
revived
Montreal
instrument vertically, Rupp’s distorted fingering or that
OÖ-Nachrichten, Linz
Kronenzeitung, Linz
Standard, Wien
HubPages, London
Kurier, Wien
Mica, Wien
Neue Zeitschrift für Musik, Mainz
ORF-Ö1-Clubmagazin, Wien
SKUG-Magazin, Wien
Radio SWR, Baden-Baden
ORF-OÖ-WEBSEITE, Linz
Tips-Magazin, Rohrbach
Jazzpodium, Stuttgart
The Wire, London
Concerto-Magazin, Waidhofen

kaleidophon 2012 - Jazzatelier Ulrichsberg

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