|
Forge
Schubert / Schlippenbach/Blume
Relative Pitch Recordings RPR1117
Frank Paul Schubert as, ss
Alexander von Schlippenbach piano
Martin Blume drums, percussion
|
|
Recording track list
1. Merge 47:30
2 Forgin the Work 06:47
Total Time: 54:17
|
|
Recorded April 28, 2019 at Ruhr Jazz Festival,
Kunstmuseum Bochum
|
|
Recorded, Mixed and Mastered by Stefan Deistler
|
|
Executive Producers, Matt Vernon and Kevin Reilly
|
|
Cover Artworg, SPL@T
|
|
"The trio is comprised of legend and the doyen of improvised music and
free jazz: the pianist Alexander von Schlippenbach. The term
"accompaniment" is rather unsuitable for the trio: Frank Paul Schubert
on alto and soprano saxophone and Martin Blume on drums, act as equal
partners. All trio members at ear level are the source of ideas and
impulses, their interplay is a subtle trialogue, for successful
listening and picking up on musical elements that are woven into a
coherent spontaneous opus."-Relative Pitch Records
|
|
«Forge» is a meeting between three heavyweights of the German
free-improv scene. Pianist Alexander von Schlippenbach, 82 years old,
belongs to the legendary, pioneer generation of free improvisers in
Europe. Sax player Frank Paul Schubert and drummer Martin Blume are a
generation younger. Schubert and von Schlippenbach recorded before («Red
Dhal Sextet», FMR, 2013, «Intricacies», NoBusiness, 2015) and recently
Schubert worked together with Blume («Spindrift», Leo, 2020). This trio
has performed sporadically in recent years, before «Forge» was recorded
live at the Kunstmuseum during the Ruhr Jazz Festival, Bochum, in April
2019, and continues to perform today.
The performance begins with the 48-minutes of «Merge» where von
Schlippenbach, Schubert, and Blume keep exchanging ideas in an urgent,
powerful, and totally democratic manner. The music flows in a strong,
free-associative stream, and each gesture of von Schlippenbach,
Schubert, and Blume is immediately deconstructed, reconstructed, and
morphed into something else before it is abandoned as the trio searches
the next challenge. Later, von Schlippenbach introduces a lyrical vein
spiced with brief quotes from Thelonius Monk songbook and changes the
course of the improvisation to a looser and more subtle one, triggering
imaginative comments from Schubert and Blume, both are also well-versed
in Monk work, but opt for a tighter and faster rhythmic dialog. Again,
von Schlippenbach introduces a gentle, melodic theme and instantly
Schubert and Blume turn the interplay into a sparse, chamber one, soon
to be transformed into a dense and explosive mode, led by Schubert who
employs circular breathing techniques. Von Schlippenbach takes the lead
once more and sets an emotional atmosphere that relies on Monk-ish
fragments and concludes this stormy improvisation.
The second, shorter «forgin the Work» relies more on Monk-ish quotes
but incorporates these fragmented, cyclical quotes into the
fast-shifting and free-associative interplay of Schlippenbach, Schubert,
and Blume. This trio titled one of its earlier performances as «Inner
and Outer Spaces». This title captures faithfully its aesthetics. Paying
homage to the inner, sacred legacy of jazz, but at the same time taking
this essential legacy to a challenging tour in outer territories.
Eyal Hareuveni
https://salt-peanuts.eu/
|
|
Sunday, December 20, 2020
By Nick Ostrum
When listening to Alexander von Schlippenbach in a sax-piano-percussion
trio format, comparisons with his classic trio with Evan Parker and Paul
Lovens are difficult to avoid. Naturally, such a comparison lifts the bar
for Frank Schubert (saxes) and Martin Blume (drums). Viewing this ensemble
through the lens of Schlippenbach-Parker-Lovens, however, is somewhat
inappropriate, as the personal continuities rest solely in the pianist and
the similarities in instrumentation are somewhat accidental, as styles and
techniques can be so personal and vary so greatly. That stands even when
the musicians are working with loosely the same free improv vernacular.
(See Colin’s review of some of Schubert and Blume’s other work together
here
for a review that evades this comparison trap and examines the two
musicians more clearly on their own terms.)
On Forge’s two tracks, Merge and Forgin the Work, Schubert swings
from colorful sound sheets, to swaggering melodies, to expressionistic
abstractions and offers formidable counterparts to Schlippenbach’s
vacillations between classical romanticism and cubist amelodicism. Blume,
meanwhile, finds his way to unique time-keeping, riding the cymbals and
frequently sputtering on the bass drum and snare, but never quite falling
into the bebop rhythms with which he so playfully flirts. In doing so, he
creates a sense of billowing kineticism in the more energetic movements,
and endless rummaging for the perfect clicks and clacks in the more
spacious ones. At points, as with the classic trio, the three musicians’
lines entangle like a complex and irregular Nordic interweave. At others,
Schlippenbach, or Schubert, or Blume deviates, and drives his bandmates
into realms yet unexplored.
Most exciting about this album is the balance between Schubert’s and
Blume’s tendencies toward jazz melodies and free jazz cacophony and
Schlippenbach’s constant pull towards blockier constructions more common to
the virtuosic classical vanguard. This contrast leads to diverging paths,
an expanding and contraction of musical directions, and a truly compelling
knotting that stylistic purity or an overwrought singlemindedness would
simply not allow. It is, in other words, a group effort, and one which
rewards the listener with almost an hour of expert improvisation that
creates moments of clangorous exuberance, curious muffled clatter, and even
enlightened serenity, when everything about this alloyed trio and this
album just makes sense.
|
|
"Ein neues Schlippenbach Trio? Keine Veröffentlichung des
unerreichten Schlippenbach— Parker-Lovens bzw. Lytton- Trios seit
vier Jahren, da bleibt Raum für Spekulationen ...
Die Alternative mit Frank Paul Schubert an den Saxophonen und Martin
Blume, Schlagzeug und Perkussion, ist mehr als ein Trio Ersatz. Der
Mitschnitt vom Ruhr-Jazzfestival 2019 im Kunstmuseum Bochum fordert
zum Vergleich auf. Zu bestaunen gibt es freie, improvisierte Musik
auf höchstem spieltechnischen und musikalischen Niveau, die sich
stilistisch nicht festlegen lässt. Der CD-Titel »Forge« und der
des knapp 48 Minuten dauernden Hauptstücks »Merge« können sowohl
als Hommage an die Ruhrmetropole, als auch als Programmatik im Sinne
einer musikalischen Verschmelzung disparater Elemente verstanden
werden. Das Geschehen ist geprägt von wechselnden Dynamik. Eruptive
Ausbrüche auf dem Altsaxophon — Schuberts Spektrum reicht dabei
von hochlagigen mikrotonalen Patterns bis hin zu kraftvollem,
überblasenen Powerplay in der Nähe von Tenoristen wie Brötzmann
oder Shepp, ohne deren Manierismen nochzuahmen — werden abgelöst
von retardierenden, zuweilen impressionistisch
anmutenden
Gruppenpassagen. Kürzere Soli aller drei gleichberechtigten Stimmen
und wechselnde Duos kontrastieren das spannungsreiche, dissonante
Ensemblespiel, aus dem immer wieder melodische Partikel aufblitzen.
Hervorzuheben der unaufdringliche, jederzeit präsente Blume, der um
in der Terminologie zu bleiben, im Trio gleichsam als Emulgator
fungiert und zudem mit einem schwebend-singenden Perkussionssolo
glänzt. Mit den für den Pianisten fast unverzichtbaren Monk-
Reminiszenzen klingt das Stuck gelassen-bedachtsam aus. Die Arbeit
ist getan. Der zweite, kurze Titel, »Forgin the Work«, womöglich
die Zugabe des Konzerts, kann man als eine komprimierte Fassung der
Langversion verstehen, die nochmals das dicht-verwebte Zusammenspiel und die Bandbreite der drei Musiker belegt. Diese Formation
braucht den Vergleich mit den Unerreichten nicht zu scheuen, Und
Frank Paul Schubert sollte die Einspielung helfen, endlich die
gebührende Aufmerksamkeit einer breiteren Öffentlichkeit zu
gewinnen." Manfred Schröfele, Jazzpodium 2/2021
|
|
back
|