MOVE IN MOERS
“ It’s a very focused, a dense suite of colorful intimacy ”
“ A tasteful delicacy and dramatic mood ”
“ The line up is perfect for that thrilling attitude of the music ”
“ MOVE really got a proper signature, an original, personal, homogenous sound ”
Gianni Mimmo
“ It’s a very focused, a dense suite of colorful intimacy ”
“ A tasteful delicacy and dramatic mood ”
“ The line up is perfect for that thrilling attitude of the music ”
“ MOVE really got a proper signature, an original, personal, homogenous sound ”
Gianni Mimmo
MOVE IN MOERS | 2019
Jean-Michel Van Schouwburg
https://orynx-improvandsounds.blogspot.com/2021/05/samo-kutin-lee-patterson-achim-kaufmann.html
Un concert au festival de Moers en juin 2019 durant 43 minutes bien remplies qui se
déroulent en rubans improvisés souples et saccadés dans une musique excellemment
construite. Chacun s’affirme par petites touches et vagues sonores mesurées, le saxophone
sopranino d’Harri Sjöström étire les notes avec une articulation d’oiseau des îles, lunaire et
sautillant pour lequel le pianiste Achim Kaufmann trace des accords clairsemés de notes
oscillantes. La batterie de Dag Magnus Narvesen résonne à peine sous les frappes précises et
aléatoires décortiquant les pulsations comme si on secouait un mobilier précieux. Adam
Pultz Melbye frotte consciencieusement les cordes émettant des vibrations boisées et
sourdes alors que le vibraphoniste Emilio Gordoa émet des signaux liquides et volatiles.
Volatile est l’adjectif qui s’applique aux spirales et ellipses en coin du souffleur, élève de
Steve Lacy qui évite soigneusement les modèles pour se concentrer dans une colloquialité
d’oiseau parleur redistribuant gammes et intervalles et déchiquetant la pâte sonore à belles
dents. Un sens de la prononciation achevé, même dans la frénésie. Cela finit par tournoyer
grave avec un sens de l’équilibre précaire et reconsidéré au fil des secondes. Chacun des
musiciens garde sa place tout en métamorphosant et s’échangeant les rôles au sein du
quintet où tout le monde dirige et invente figures, signes, cadences, timbres, sonorités… Une
belle anarchie assumée où chacun trouve sa place, sa partie, son espace. Le pianiste fait
vibrer des harmoniques en calant les cordes alors que cela frotte, sussure, grince, avec des
sons aigus flottant et interférant dans l’atmosphère dilatée ou contractée selon l’humeur et
l’état d’esprit du moment. Une capacité à faire évoluer et transformer le paysage et
l’intensité de l’ensemble, avec ses audaces, ses hésitations, ses lenteurs et ses fureurs. Le
point de non-retour du free jazz dont il maintient adroitement des éléments expressifs et
architectoniques. Savant dosage dans la répartition instrumentale et individuelle des actions
improvisées dans l’instant. Remarquable quintet issu de la très active scène Berlinoise.
English translation
A concert at the Moers Festival in June 2019 for 43 packed minutes that unfold in smooth,
jerky improvised ribbons in excellently constructed music. Each asserts itself in small,
measured touches and waves of sound, Harri Sjöström soprano & sopranino saxophone stretches the
notes with an island bird articulation, lunar and bouncy for which pianist Achim Kaufmann
traces sparse chords of oscillating notes. Dag Magnus Narvesen's drums barely resonate
under the precise, random strikes that peel back the pulses like shaking precious furniture.
Adam Pultz Melbye dutifully rubs the strings emitting muted, woody vibrations while
vibraphonist Emilio Gordoa emits liquid, volatile signals. Volatile is the adjective that applies
to the spirals and wedge-shaped ellipses of the blower, a pupil of Steve Lacy who carefully
avoids patterns to concentrate in a talking bird colloquiality redistributing scales and
intervals and shredding the sonic pulp to death. A perfect sense of pronunciation, even in
the frenzy. It ends up swirling low with a sense of balance that is precarious and
reconsidered as the seconds pass. Each of the musicians keeps his place while changing and
exchanging roles within the quintet where everyone directs and invents figures, signs,
cadences, timbres, sonorities... A beautiful anarchy assumed where everyone finds his place,
his part, his space. The pianist makes harmonics vibrate by adjusting the strings while it rubs,
sings, squeaks, with high-pitched sounds floating and interfering in the dilated or contracted
atmosphere according to the mood and the state of mind of the moment. An ability to make
the landscape and the intensity of the whole evolve and transform, with its audacities,
hesitations, slowness and fury. The point of no return of free jazz, of which he skilfully
maintains expressive and architectural elements. A skilful balance in the instrumental and
individual distribution of improvised actions in the moment. A remarkable quintet from the
very active Berlin scene.
Jean-Michel Van Schouwburg
Jean-Michel Van Schouwburg
https://orynx-improvandsounds.blogspot.com/2021/05/samo-kutin-lee-patterson-achim-kaufmann.html
Un concert au festival de Moers en juin 2019 durant 43 minutes bien remplies qui se
déroulent en rubans improvisés souples et saccadés dans une musique excellemment
construite. Chacun s’affirme par petites touches et vagues sonores mesurées, le saxophone
sopranino d’Harri Sjöström étire les notes avec une articulation d’oiseau des îles, lunaire et
sautillant pour lequel le pianiste Achim Kaufmann trace des accords clairsemés de notes
oscillantes. La batterie de Dag Magnus Narvesen résonne à peine sous les frappes précises et
aléatoires décortiquant les pulsations comme si on secouait un mobilier précieux. Adam
Pultz Melbye frotte consciencieusement les cordes émettant des vibrations boisées et
sourdes alors que le vibraphoniste Emilio Gordoa émet des signaux liquides et volatiles.
Volatile est l’adjectif qui s’applique aux spirales et ellipses en coin du souffleur, élève de
Steve Lacy qui évite soigneusement les modèles pour se concentrer dans une colloquialité
d’oiseau parleur redistribuant gammes et intervalles et déchiquetant la pâte sonore à belles
dents. Un sens de la prononciation achevé, même dans la frénésie. Cela finit par tournoyer
grave avec un sens de l’équilibre précaire et reconsidéré au fil des secondes. Chacun des
musiciens garde sa place tout en métamorphosant et s’échangeant les rôles au sein du
quintet où tout le monde dirige et invente figures, signes, cadences, timbres, sonorités… Une
belle anarchie assumée où chacun trouve sa place, sa partie, son espace. Le pianiste fait
vibrer des harmoniques en calant les cordes alors que cela frotte, sussure, grince, avec des
sons aigus flottant et interférant dans l’atmosphère dilatée ou contractée selon l’humeur et
l’état d’esprit du moment. Une capacité à faire évoluer et transformer le paysage et
l’intensité de l’ensemble, avec ses audaces, ses hésitations, ses lenteurs et ses fureurs. Le
point de non-retour du free jazz dont il maintient adroitement des éléments expressifs et
architectoniques. Savant dosage dans la répartition instrumentale et individuelle des actions
improvisées dans l’instant. Remarquable quintet issu de la très active scène Berlinoise.
English translation
A concert at the Moers Festival in June 2019 for 43 packed minutes that unfold in smooth,
jerky improvised ribbons in excellently constructed music. Each asserts itself in small,
measured touches and waves of sound, Harri Sjöström soprano & sopranino saxophone stretches the
notes with an island bird articulation, lunar and bouncy for which pianist Achim Kaufmann
traces sparse chords of oscillating notes. Dag Magnus Narvesen's drums barely resonate
under the precise, random strikes that peel back the pulses like shaking precious furniture.
Adam Pultz Melbye dutifully rubs the strings emitting muted, woody vibrations while
vibraphonist Emilio Gordoa emits liquid, volatile signals. Volatile is the adjective that applies
to the spirals and wedge-shaped ellipses of the blower, a pupil of Steve Lacy who carefully
avoids patterns to concentrate in a talking bird colloquiality redistributing scales and
intervals and shredding the sonic pulp to death. A perfect sense of pronunciation, even in
the frenzy. It ends up swirling low with a sense of balance that is precarious and
reconsidered as the seconds pass. Each of the musicians keeps his place while changing and
exchanging roles within the quintet where everyone directs and invents figures, signs,
cadences, timbres, sonorities... A beautiful anarchy assumed where everyone finds his place,
his part, his space. The pianist makes harmonics vibrate by adjusting the strings while it rubs,
sings, squeaks, with high-pitched sounds floating and interfering in the dilated or contracted
atmosphere according to the mood and the state of mind of the moment. An ability to make
the landscape and the intensity of the whole evolve and transform, with its audacities,
hesitations, slowness and fury. The point of no return of free jazz, of which he skilfully
maintains expressive and architectural elements. A skilful balance in the instrumental and
individual distribution of improvised actions in the moment. A remarkable quintet from the
very active Berlin scene.
Jean-Michel Van Schouwburg
Ettore Garzia:
http://www.percorsimusicali.eu/2021/05/26/le-illusioni-di-move-in-moers/
Photo painting Building Greyness by Thomas Nyqvist, CD cover of Move In Moers
Più di cinquanta anni fa, la logica filosofica dell’interpretazione della realtà non
sembrava mai essere messa in discussione. I francesi teorici di un cambiamento
percettivo come Derrida o Deleuze o i pensatori italiani come Eco e Vattimo, nonché una
schiera infinita di artisti appartenenti alle varie diramazioni dell’arte, ne accoglievano la
rilevanza in un mondo che sembrava quasi prestarsi naturalmente ad un’ermeneutica
soggettivistica. Sappiamo che il ventunesimo secolo ha cambiato alcune prospettive ma
non ha messo in dubbio che l’arte possa essere oggetto di ricombinazioni di cui si possa
valutare il senso in modi differenti, fornendo proprie visioni. L’improvvisazione libera
cade esattamente in quest’area di pensiero, è una pratica in cui la complessità del
messaggio gioca a favore di una plurima interpretazione, ma guai pensare che sia un’arte
accessibile e senza nessun bisogno di essere spiegata: in questo modo non si potrebbero
apprezzare le sue ricchezze, la sua continua e mai effimera volubilità, il superamento
delle incognite sonore che è in grado di offrire un ascolto mediato dalla conoscenza.
Un ottimo esempio delle qualità che possono rinvenirsi da un set improvvisativo ce lo
offrono i Move, quintetto formato da Harri Sjöström (al soprano e sopranino sax), Achim
Kaufmann (pianoforte), Adam Pultz Melbye (contrabbasso), Dag Magnus Narvesen
(batteria) ed Emilio Gordoa (vibrafono): seconda pubblicazione discografica dopo
Hyvinkää del 2017, il recentissimo Move In Moers documenta un bellissimo concerto
tenuto durante il festival di Moers nel giugno del 2019; è un’aggregazione che ha un suo
modo di porsi, che si impegna sulla lunga distanza (si tratta di esibizioni intorno ai 40
minuti) e non ha certamente un timing equilibrato dell’espressione (non segue un
progetto coerente del tipo tensione-rilascio-tensione). I cinque musicisti mettono in
campo tutta la loro esperienza, sono in grado di provocare scenari astratti con grande
capacità di sapersi ascoltare, di ottenere una progettazione mimetica: è un sincronismo
che suggerisce ambientazione, climi stemperati, obliquità ma anche rapide veloci,
congestioni, sinossi percussive.
Per Move In Moers ognuno fa benissimo la sua parte: Sjöström ha un compito
importante perché è colui che si adatta e stabilizza le situazioni musicali; lo stile e
l’ampiezza di tecniche e forme dà luogo a legati velocissimi, lavorazioni sui registri,
soffocamenti dei suoni, arpeggi con la figurazione del volo, multifonici, borbottii,
frammentazioni; Harri è decisamente ancora oggi uno dei migliori sopranisti in
circolazione e in alcuni momenti riesce a dare persino l’impressione che il suo strumenti
si “pieghi”, tanto è veloce la legatura delle note.
Kaufmann è alla caccia di pendenze, di ambiguità che si esprimono in accordi che ti
sbattono il cervello in un’altra dimensione, coadiuvato benissimo da Adam Pultz Melbye
(a cui sembra far veramente difetto la funzione ritmica) e dai due percussionisti che si
inseriscono a loro modo nelle trame accattivanti della musica. Ci sono un paio di pause
relativamente melliflue, in cui trovare qualche tonfo acustico, somatizzazioni e ricerca di
somiglianza timbrica, ma in generale sono pause portatrici di distruzione focale; nei
trend più dinamici il quintetto si muove pensando al Cecil Taylor d’annata, con Sjöström
che vi regala l’oggettiva sensazione dell’aquila impazzita, ma direi che ci sono momenti
in cui torna brevemente alla memoria anche il mood del Miles Davis della psicosi jungle.
Move In Moers, dunque, è come un bel dipinto da analizzare e non è un caso che la cover
del cd sia una rappresentazione astratta di un quadro di Thomas Nyqvist, pittore
finlandese che guarda molto ai concetti di “rovina” e “grigiore” interpretativo: nel nostro
caso il versante dell’analisi si sposta sull’illusione, sul potere di intercettare dei
soundscapes senza poterli ascrivere a nessuna realtà; ma come sono queste illusioni?
Certamente non sono sogni o allucinazioni quelli del quintetto Move, ma un’area del
pensiero in cui il disordine formale è l’elemento in grado di alimentare paradossalmente
la comprensione e come nel dipinto di Nyqvist c’è l’accenno strutturale delle rovine, così
la musica di Move In Moers suscita un’informale demolizione acustica con pochi e
selettivi approfondimenti concreti. E in questa “interpretazione” la musica acquista
senza dubbio una singolarità tutta da godere.photo painting Building Greyness by
Thomas Nyqvist, CD cover of Move In Moers
Più di cinquanta anni fa, la logica filosofica dell’interpretazione della realtà non
sembrava mai essere messa in discussione. I francesi teorici di un cambiamento
percettivo come Derrida o Deleuze o i pensatori italiani come Eco e Vattimo, nonché una
schiera infinita di artisti appartenenti alle varie diramazioni dell’arte, ne accoglievano la
rilevanza in un mondo che sembrava quasi prestarsi naturalmente ad un’ermeneutica
soggettivistica. Sappiamo che il ventunesimo secolo ha cambiato alcune prospettive ma
non ha messo in dubbio che l’arte possa essere oggetto di ricombinazioni di cui si possa
valutare il senso in modi differenti, fornendo proprie visioni. L’improvvisazione libera
cade esattamente in quest’area di pensiero, è una pratica in cui la complessità del
messaggio gioca a favore di una plurima interpretazione, ma guai pensare che sia un’arte
accessibile e senza nessun bisogno di essere spiegata: in questo modo non si potrebbero
apprezzare le sue ricchezze, la sua continua e mai effimera volubilità, il superamento
delle incognite sonore che è in grado di offrire un ascolto mediato dalla conoscenza.
Un ottimo esempio delle qualità che possono rinvenirsi da un set improvvisativo ce lo
offrono i Move, quintetto formato da Harri Sjöström (al soprano e sopranino sax), Achim
Kaufmann (pianoforte), Adam Pultz Melbye (contrabbasso), Dag Magnus Narvesen
(batteria) ed Emilio Gordoa (vibrafono): seconda pubblicazione discografica dopo
Hyvinkää del 2017, il recentissimo Move In Moers documenta un bellissimo concerto
tenuto durante il festival di Moers nel giugno del 2019; è un’aggregazione che ha un suo
modo di porsi, che si impegna sulla lunga distanza (si tratta di esibizioni intorno ai 40
minuti) e non ha certamente un timing equilibrato dell’espressione (non segue un
progetto coerente del tipo tensione-rilascio-tensione). I cinque musicisti mettono in
campo tutta la loro esperienza, sono in grado di provocare scenari astratti con grande
capacità di sapersi ascoltare, di ottenere una progettazione mimetica: è un sincronismo
che suggerisce ambientazione, climi stemperati, obliquità ma anche rapide veloci,
congestioni, sinossi percussive.
Per Move In Moers ognuno fa benissimo la sua parte: Sjöström ha un compito
importante perché è colui che si adatta e stabilizza le situazioni musicali; lo stile e
l’ampiezza di tecniche e forme dà luogo a legati velocissimi, lavorazioni sui registri,
soffocamenti dei suoni, arpeggi con la figurazione del volo, multifonici, borbottii,
frammentazioni; Harri è decisamente ancora oggi uno dei migliori sopranisti in
circolazione e in alcuni momenti riesce a dare persino l’impressione che il suo strumenti
si “pieghi”, tanto è veloce la legatura delle note.
Kaufmann è alla caccia di pendenze, di ambiguità che si esprimono in accordi che ti
sbattono il cervello in un’altra dimensione, coadiuvato benissimo da Adam Pultz Melbye
(a cui sembra far veramente difetto la funzione ritmica) e dai due percussionisti che si
inseriscono a loro modo nelle trame accattivanti della musica. Ci sono un paio di pause
relativamente melliflue, in cui trovare qualche tonfo acustico, somatizzazioni e ricerca di
somiglianza timbrica, ma in generale sono pause portatrici di distruzione focale; nei
trend più dinamici il quintetto si muove pensando al Cecil Taylor d’annata, con Sjöström
che vi regala l’oggettiva sensazione dell’aquila impazzita, ma direi che ci sono momenti
in cui torna brevemente alla memoria anche il mood del Miles Davis della psicosi jungle.
Move In Moers, dunque, è come un bel dipinto da analizzare e non è un caso che la cover
del cd sia una rappresentazione astratta di un quadro di Thomas Nyqvist, pittore
finlandese che guarda molto ai concetti di “rovina” e “grigiore” interpretativo: nel nostro
caso il versante dell’analisi si sposta sull’illusione, sul potere di intercettare dei
soundscapes senza poterli ascrivere a nessuna realtà; ma come sono queste illusioni?
Certamente non sono sogni o allucinazioni quelli del quintetto Move, ma un’area del
pensiero in cui il disordine formale è l’elemento in grado di alimentare paradossalmente
la comprensione e come nel dipinto di Nyqvist c’è l’accenno strutturale delle rovine, così
la musica di Move In Moers suscita un’informale demolizione acustica con pochi e
selettivi approfondimenti concreti. E in questa “interpretazione” la musica acquista
senza dubbio una singolarità tutta da godere.
Englisch translation
Ettore Garzia:
http://www.percorsimusicali.eu/2021/05/26/le-illusioni-di-move-in-moers/
Photo painting Building Greyness by Thomas Nyqvist, CD cover of Move In Moers
More than fifty years ago, the philosophical logic of interpreting reality never seemed to
be questioned. French theorists of perceptual change such as Derrida or Deleuze or
Italian thinkers such as Eco and Vattimo, as well as an endless array of artists from the
various branches of art, accepted its relevance in a world that seemed to lend itself
almost naturally to a subjectivistic hermeneutic. We know that the twenty-first century
has changed some perspectives, but it has not cast doubt on the fact that art can be the
subject of recombinations whose meaning can be assessed in different ways, providing
our own visions. Free improvisation falls exactly in this area of thought, it is a practice in
which the complexity of the message plays in favour of a multiple interpretation, but
woe betide thinking that it is an accessible art with no need to be explained: in this way
one would not be able to appreciate its riches, its continuous and never ephemeral
fickleness, the overcoming of sound unknowns that a listening mediated by knowledge
is able to offer.
An excellent example of the qualities that can be found in an improvisational set is
offered by Move, a quintet formed by Harri Sjöström (soprano and sopranino sax),
Achim Kaufmann (piano), Adam Pultz Melbye (double bass), Dag Magnus Narvesen
(drums) and Emilio Gordoa (vibraphone): second discographic release after "Hyvinkää"
in 2017, the very recent "Move In Moers" documents a beautiful concert held during the
Moers festival in June 2019; it is an aggregation that has its own way of posing, that
commits to the long distance (these are performances around 40 minutes) and certainly
does not have a balanced timing of expression (it does not follow a coherent project of
the tension-release-tension type). The five musicians bring all their experience to bear,
they are able to provoke abstract scenarios with a great ability to know how to listen to
each other, to achieve a mimetic design: it is a synchronism that suggests ambience,
diluted climates, obliquities but also fast rapids, congestions, percussive synopses.
Sjöström has an important task because he is the one who adapts and stabilises the
musical situations; the style and breadth of techniques and forms gives rise to very fast
legato, working on registers, suffocating sounds, arpeggios with the figuration of flight,
multiphonics, mumbling, fragmentations; Harri is definitely still one of the best
sopranos in circulation today and in some moments he even manages to the impression
that his instruments bends, so fast is the note-binding. Kaufmann is on the hunt for slopes,
for ambiguities that are expressed in chords that whip your brain into another dimension,
assisted very well by Adam Pultz Melbye(whose function seems larger and more than a rhythmical)
and by the twopercussionists who in their own way fit into the captivating textures of the music.
There are a couple of relatively mellifluous pauses, where you can find some acoustic thudding,
somatisations and a search for timbral similarity, but in general they are pauses that
bring focal destruction; in the more dynamic trends the quintet moves with the vintage
Cecil Taylor in mind, with Sjöström giving you the objective sensation of a crazed eagle,
but I would say that there are moments when the mood of the Miles Davis of jungle
psychosis briefly comes to mind.
Move In Moers, then, is like a beautiful painting to be analysed and it is no coincidence
that the cover of the CD is an abstract representation of a painting by Thomas Nyqvist,
Finnish painter who looks a lot to the concepts of greyness interpretative:
in our case the side of the analysis shifts on the illusion, the power to intercept the
soundscapes without being able to ascribe them to any reality, but what are these
illusions? Certainly the Move quintet's illusions are not dreams or hallucinations, but an
area of thought in which formal disorder is the element capable of paradoxically
nourishing understanding, and just as in Nyqvist's painting there is the structural hint of
ruins, so the music of Move In Moers provokes an informal acoustic demolition with few
and selective concrete insights. And in this interpretation the music undoubtedly
acquires a singularity to be enjoyed.
http://www.percorsimusicali.eu/2021/05/26/le-illusioni-di-move-in-moers/
Photo painting Building Greyness by Thomas Nyqvist, CD cover of Move In Moers
Più di cinquanta anni fa, la logica filosofica dell’interpretazione della realtà non
sembrava mai essere messa in discussione. I francesi teorici di un cambiamento
percettivo come Derrida o Deleuze o i pensatori italiani come Eco e Vattimo, nonché una
schiera infinita di artisti appartenenti alle varie diramazioni dell’arte, ne accoglievano la
rilevanza in un mondo che sembrava quasi prestarsi naturalmente ad un’ermeneutica
soggettivistica. Sappiamo che il ventunesimo secolo ha cambiato alcune prospettive ma
non ha messo in dubbio che l’arte possa essere oggetto di ricombinazioni di cui si possa
valutare il senso in modi differenti, fornendo proprie visioni. L’improvvisazione libera
cade esattamente in quest’area di pensiero, è una pratica in cui la complessità del
messaggio gioca a favore di una plurima interpretazione, ma guai pensare che sia un’arte
accessibile e senza nessun bisogno di essere spiegata: in questo modo non si potrebbero
apprezzare le sue ricchezze, la sua continua e mai effimera volubilità, il superamento
delle incognite sonore che è in grado di offrire un ascolto mediato dalla conoscenza.
Un ottimo esempio delle qualità che possono rinvenirsi da un set improvvisativo ce lo
offrono i Move, quintetto formato da Harri Sjöström (al soprano e sopranino sax), Achim
Kaufmann (pianoforte), Adam Pultz Melbye (contrabbasso), Dag Magnus Narvesen
(batteria) ed Emilio Gordoa (vibrafono): seconda pubblicazione discografica dopo
Hyvinkää del 2017, il recentissimo Move In Moers documenta un bellissimo concerto
tenuto durante il festival di Moers nel giugno del 2019; è un’aggregazione che ha un suo
modo di porsi, che si impegna sulla lunga distanza (si tratta di esibizioni intorno ai 40
minuti) e non ha certamente un timing equilibrato dell’espressione (non segue un
progetto coerente del tipo tensione-rilascio-tensione). I cinque musicisti mettono in
campo tutta la loro esperienza, sono in grado di provocare scenari astratti con grande
capacità di sapersi ascoltare, di ottenere una progettazione mimetica: è un sincronismo
che suggerisce ambientazione, climi stemperati, obliquità ma anche rapide veloci,
congestioni, sinossi percussive.
Per Move In Moers ognuno fa benissimo la sua parte: Sjöström ha un compito
importante perché è colui che si adatta e stabilizza le situazioni musicali; lo stile e
l’ampiezza di tecniche e forme dà luogo a legati velocissimi, lavorazioni sui registri,
soffocamenti dei suoni, arpeggi con la figurazione del volo, multifonici, borbottii,
frammentazioni; Harri è decisamente ancora oggi uno dei migliori sopranisti in
circolazione e in alcuni momenti riesce a dare persino l’impressione che il suo strumenti
si “pieghi”, tanto è veloce la legatura delle note.
Kaufmann è alla caccia di pendenze, di ambiguità che si esprimono in accordi che ti
sbattono il cervello in un’altra dimensione, coadiuvato benissimo da Adam Pultz Melbye
(a cui sembra far veramente difetto la funzione ritmica) e dai due percussionisti che si
inseriscono a loro modo nelle trame accattivanti della musica. Ci sono un paio di pause
relativamente melliflue, in cui trovare qualche tonfo acustico, somatizzazioni e ricerca di
somiglianza timbrica, ma in generale sono pause portatrici di distruzione focale; nei
trend più dinamici il quintetto si muove pensando al Cecil Taylor d’annata, con Sjöström
che vi regala l’oggettiva sensazione dell’aquila impazzita, ma direi che ci sono momenti
in cui torna brevemente alla memoria anche il mood del Miles Davis della psicosi jungle.
Move In Moers, dunque, è come un bel dipinto da analizzare e non è un caso che la cover
del cd sia una rappresentazione astratta di un quadro di Thomas Nyqvist, pittore
finlandese che guarda molto ai concetti di “rovina” e “grigiore” interpretativo: nel nostro
caso il versante dell’analisi si sposta sull’illusione, sul potere di intercettare dei
soundscapes senza poterli ascrivere a nessuna realtà; ma come sono queste illusioni?
Certamente non sono sogni o allucinazioni quelli del quintetto Move, ma un’area del
pensiero in cui il disordine formale è l’elemento in grado di alimentare paradossalmente
la comprensione e come nel dipinto di Nyqvist c’è l’accenno strutturale delle rovine, così
la musica di Move In Moers suscita un’informale demolizione acustica con pochi e
selettivi approfondimenti concreti. E in questa “interpretazione” la musica acquista
senza dubbio una singolarità tutta da godere.photo painting Building Greyness by
Thomas Nyqvist, CD cover of Move In Moers
Più di cinquanta anni fa, la logica filosofica dell’interpretazione della realtà non
sembrava mai essere messa in discussione. I francesi teorici di un cambiamento
percettivo come Derrida o Deleuze o i pensatori italiani come Eco e Vattimo, nonché una
schiera infinita di artisti appartenenti alle varie diramazioni dell’arte, ne accoglievano la
rilevanza in un mondo che sembrava quasi prestarsi naturalmente ad un’ermeneutica
soggettivistica. Sappiamo che il ventunesimo secolo ha cambiato alcune prospettive ma
non ha messo in dubbio che l’arte possa essere oggetto di ricombinazioni di cui si possa
valutare il senso in modi differenti, fornendo proprie visioni. L’improvvisazione libera
cade esattamente in quest’area di pensiero, è una pratica in cui la complessità del
messaggio gioca a favore di una plurima interpretazione, ma guai pensare che sia un’arte
accessibile e senza nessun bisogno di essere spiegata: in questo modo non si potrebbero
apprezzare le sue ricchezze, la sua continua e mai effimera volubilità, il superamento
delle incognite sonore che è in grado di offrire un ascolto mediato dalla conoscenza.
Un ottimo esempio delle qualità che possono rinvenirsi da un set improvvisativo ce lo
offrono i Move, quintetto formato da Harri Sjöström (al soprano e sopranino sax), Achim
Kaufmann (pianoforte), Adam Pultz Melbye (contrabbasso), Dag Magnus Narvesen
(batteria) ed Emilio Gordoa (vibrafono): seconda pubblicazione discografica dopo
Hyvinkää del 2017, il recentissimo Move In Moers documenta un bellissimo concerto
tenuto durante il festival di Moers nel giugno del 2019; è un’aggregazione che ha un suo
modo di porsi, che si impegna sulla lunga distanza (si tratta di esibizioni intorno ai 40
minuti) e non ha certamente un timing equilibrato dell’espressione (non segue un
progetto coerente del tipo tensione-rilascio-tensione). I cinque musicisti mettono in
campo tutta la loro esperienza, sono in grado di provocare scenari astratti con grande
capacità di sapersi ascoltare, di ottenere una progettazione mimetica: è un sincronismo
che suggerisce ambientazione, climi stemperati, obliquità ma anche rapide veloci,
congestioni, sinossi percussive.
Per Move In Moers ognuno fa benissimo la sua parte: Sjöström ha un compito
importante perché è colui che si adatta e stabilizza le situazioni musicali; lo stile e
l’ampiezza di tecniche e forme dà luogo a legati velocissimi, lavorazioni sui registri,
soffocamenti dei suoni, arpeggi con la figurazione del volo, multifonici, borbottii,
frammentazioni; Harri è decisamente ancora oggi uno dei migliori sopranisti in
circolazione e in alcuni momenti riesce a dare persino l’impressione che il suo strumenti
si “pieghi”, tanto è veloce la legatura delle note.
Kaufmann è alla caccia di pendenze, di ambiguità che si esprimono in accordi che ti
sbattono il cervello in un’altra dimensione, coadiuvato benissimo da Adam Pultz Melbye
(a cui sembra far veramente difetto la funzione ritmica) e dai due percussionisti che si
inseriscono a loro modo nelle trame accattivanti della musica. Ci sono un paio di pause
relativamente melliflue, in cui trovare qualche tonfo acustico, somatizzazioni e ricerca di
somiglianza timbrica, ma in generale sono pause portatrici di distruzione focale; nei
trend più dinamici il quintetto si muove pensando al Cecil Taylor d’annata, con Sjöström
che vi regala l’oggettiva sensazione dell’aquila impazzita, ma direi che ci sono momenti
in cui torna brevemente alla memoria anche il mood del Miles Davis della psicosi jungle.
Move In Moers, dunque, è come un bel dipinto da analizzare e non è un caso che la cover
del cd sia una rappresentazione astratta di un quadro di Thomas Nyqvist, pittore
finlandese che guarda molto ai concetti di “rovina” e “grigiore” interpretativo: nel nostro
caso il versante dell’analisi si sposta sull’illusione, sul potere di intercettare dei
soundscapes senza poterli ascrivere a nessuna realtà; ma come sono queste illusioni?
Certamente non sono sogni o allucinazioni quelli del quintetto Move, ma un’area del
pensiero in cui il disordine formale è l’elemento in grado di alimentare paradossalmente
la comprensione e come nel dipinto di Nyqvist c’è l’accenno strutturale delle rovine, così
la musica di Move In Moers suscita un’informale demolizione acustica con pochi e
selettivi approfondimenti concreti. E in questa “interpretazione” la musica acquista
senza dubbio una singolarità tutta da godere.
Englisch translation
Ettore Garzia:
http://www.percorsimusicali.eu/2021/05/26/le-illusioni-di-move-in-moers/
Photo painting Building Greyness by Thomas Nyqvist, CD cover of Move In Moers
More than fifty years ago, the philosophical logic of interpreting reality never seemed to
be questioned. French theorists of perceptual change such as Derrida or Deleuze or
Italian thinkers such as Eco and Vattimo, as well as an endless array of artists from the
various branches of art, accepted its relevance in a world that seemed to lend itself
almost naturally to a subjectivistic hermeneutic. We know that the twenty-first century
has changed some perspectives, but it has not cast doubt on the fact that art can be the
subject of recombinations whose meaning can be assessed in different ways, providing
our own visions. Free improvisation falls exactly in this area of thought, it is a practice in
which the complexity of the message plays in favour of a multiple interpretation, but
woe betide thinking that it is an accessible art with no need to be explained: in this way
one would not be able to appreciate its riches, its continuous and never ephemeral
fickleness, the overcoming of sound unknowns that a listening mediated by knowledge
is able to offer.
An excellent example of the qualities that can be found in an improvisational set is
offered by Move, a quintet formed by Harri Sjöström (soprano and sopranino sax),
Achim Kaufmann (piano), Adam Pultz Melbye (double bass), Dag Magnus Narvesen
(drums) and Emilio Gordoa (vibraphone): second discographic release after "Hyvinkää"
in 2017, the very recent "Move In Moers" documents a beautiful concert held during the
Moers festival in June 2019; it is an aggregation that has its own way of posing, that
commits to the long distance (these are performances around 40 minutes) and certainly
does not have a balanced timing of expression (it does not follow a coherent project of
the tension-release-tension type). The five musicians bring all their experience to bear,
they are able to provoke abstract scenarios with a great ability to know how to listen to
each other, to achieve a mimetic design: it is a synchronism that suggests ambience,
diluted climates, obliquities but also fast rapids, congestions, percussive synopses.
Sjöström has an important task because he is the one who adapts and stabilises the
musical situations; the style and breadth of techniques and forms gives rise to very fast
legato, working on registers, suffocating sounds, arpeggios with the figuration of flight,
multiphonics, mumbling, fragmentations; Harri is definitely still one of the best
sopranos in circulation today and in some moments he even manages to the impression
that his instruments bends, so fast is the note-binding. Kaufmann is on the hunt for slopes,
for ambiguities that are expressed in chords that whip your brain into another dimension,
assisted very well by Adam Pultz Melbye(whose function seems larger and more than a rhythmical)
and by the twopercussionists who in their own way fit into the captivating textures of the music.
There are a couple of relatively mellifluous pauses, where you can find some acoustic thudding,
somatisations and a search for timbral similarity, but in general they are pauses that
bring focal destruction; in the more dynamic trends the quintet moves with the vintage
Cecil Taylor in mind, with Sjöström giving you the objective sensation of a crazed eagle,
but I would say that there are moments when the mood of the Miles Davis of jungle
psychosis briefly comes to mind.
Move In Moers, then, is like a beautiful painting to be analysed and it is no coincidence
that the cover of the CD is an abstract representation of a painting by Thomas Nyqvist,
Finnish painter who looks a lot to the concepts of greyness interpretative:
in our case the side of the analysis shifts on the illusion, the power to intercept the
soundscapes without being able to ascribe them to any reality, but what are these
illusions? Certainly the Move quintet's illusions are not dreams or hallucinations, but an
area of thought in which formal disorder is the element capable of paradoxically
nourishing understanding, and just as in Nyqvist's painting there is the structural hint of
ruins, so the music of Move In Moers provokes an informal acoustic demolition with few
and selective concrete insights. And in this interpretation the music undoubtedly
acquires a singularity to be enjoyed.
Move In Moers - review - New York
MOVE with ACHIM KAUFMANN / HARRI SJOSTROM / EMILIO GORDOA / ADAM PULTZ
MELBYE / DAG MAGNUS VARVESEN - In Moers (LISTEN! Foundation FSR 07/2021; Poland)
Move features Harri Sjostrom on soprano & sopranino saxes, Achim Kaufmann on piano, Emilio
Gordoa on vibes, Adam Pultz Melbye on double bass and Dag Magnus Narvesen on drums. This
session was recorded live at the Moers Festival in Germany in June of 2019. You should
recognize some of the names here from different projects: Harri Sjostrom (from his work with
Cecil Taylor), Achim Kaufmann (working with Michael Moore and Frank Gratkowski) and Dag
Magnus Narvesen (with Alex Von Schlippenbach and Frode Gjerstad). Most of the members of this
quintet were part of the "Balderin Sali Variations"- a 2 CD set out on Leo Records from last year (2020).
This disc is a spirited live session and clocks in at around 43 minutes.
The sound here is superb, well-balanced with all five members integral to the group sound. These
are minimal at first and evolve slowly. There is a spacious, magical, dream-like quality to this
music that I find most refreshing, especially after reviewing some of the intense free/jazz
contenders from this week’s newsletter. Eventually the quintet hits their stride, erupting several
sections in the second half of this session. There are some moments when the instruments come
together blending into one cosmic sound, a most transcendent moment, indeed! -
Bruce Lee Gallanter, DMG NY
MOVE with ACHIM KAUFMANN / HARRI SJOSTROM / EMILIO GORDOA / ADAM PULTZ
MELBYE / DAG MAGNUS VARVESEN - In Moers (LISTEN! Foundation FSR 07/2021; Poland)
Move features Harri Sjostrom on soprano & sopranino saxes, Achim Kaufmann on piano, Emilio
Gordoa on vibes, Adam Pultz Melbye on double bass and Dag Magnus Narvesen on drums. This
session was recorded live at the Moers Festival in Germany in June of 2019. You should
recognize some of the names here from different projects: Harri Sjostrom (from his work with
Cecil Taylor), Achim Kaufmann (working with Michael Moore and Frank Gratkowski) and Dag
Magnus Narvesen (with Alex Von Schlippenbach and Frode Gjerstad). Most of the members of this
quintet were part of the "Balderin Sali Variations"- a 2 CD set out on Leo Records from last year (2020).
This disc is a spirited live session and clocks in at around 43 minutes.
The sound here is superb, well-balanced with all five members integral to the group sound. These
are minimal at first and evolve slowly. There is a spacious, magical, dream-like quality to this
music that I find most refreshing, especially after reviewing some of the intense free/jazz
contenders from this week’s newsletter. Eventually the quintet hits their stride, erupting several
sections in the second half of this session. There are some moments when the instruments come
together blending into one cosmic sound, a most transcendent moment, indeed! -
Bruce Lee Gallanter, DMG NY
MOVE IN MOERS
At the Moers festival, Sjöström, the German-born but Amsterdam-based pianist Achim
Kaufmann, the Danish double bassist Adam Pultz Melbye from Berlin, the Norwegian
drummer Dag Magnus Narvesen and the Mexican vibraphonist Emilio Gordoa, also
based in Berlin, took turns in front of the audience.
The all-hands-on-deck idea of free-fall strikes a spark. In addition to the typical sound
register, each musician creates differently shaped sounds from his instrument in an
unprejudiced way. To throw oneself into a common sonic flow with such a large group
requires not only courage and rigorous skills, but also the internalisation of the method.
It is underpinned by an unstinting conscious presence.
The concrete use of mindfulness also encourages the listener to focus and surrender to
the continuum of moments that are coming together. Yes, this (too) is a kind of
meditation in its most intangible form.
Matti Komulainen / Turun Sanomat 06 - 21
At the Moers festival, Sjöström, the German-born but Amsterdam-based pianist Achim
Kaufmann, the Danish double bassist Adam Pultz Melbye from Berlin, the Norwegian
drummer Dag Magnus Narvesen and the Mexican vibraphonist Emilio Gordoa, also
based in Berlin, took turns in front of the audience.
The all-hands-on-deck idea of free-fall strikes a spark. In addition to the typical sound
register, each musician creates differently shaped sounds from his instrument in an
unprejudiced way. To throw oneself into a common sonic flow with such a large group
requires not only courage and rigorous skills, but also the internalisation of the method.
It is underpinned by an unstinting conscious presence.
The concrete use of mindfulness also encourages the listener to focus and surrender to
the continuum of moments that are coming together. Yes, this (too) is a kind of
meditation in its most intangible form.
Matti Komulainen / Turun Sanomat 06 - 21
Hyvinkää | 2017
The Berlin- based and operating soprano saxophone player Harri Sjöström has
gathered an international quintet around him, which musicians represent all
different nationalities. The MOVE quintet has been in operation for over three
years and its members, Danish double bassist Adam Pultz Melbye, Norwegian
drummer Dag Magnus Narvesen, Mexican vibefonist Emilio Gordoa Rodriguez
and German pianist Achim Kaufmann from Berlin's vibrant jazz
community.
Sjöström and Kaufmann, who already have a long career experience, have
joined the younger generation of musicians born in the 1980;s who have been
routinely trained in improvised music and show solid know-how in their earlier
projects.
The band has a clear simple vision, it is dedicated to improvised music in the
moment and in the state where it is present. When the band visited a year ago at
Hyvinkää Art Museum, the concert was recorded and has now been released as a
CD. The official release date 1.9. 2017.
The disc contains a bit less than a 40-minute track, which has been invented
just how it did happen, simply clear Hyvinkää. The Quintet carries its play in a
large sector multipurpose, generating a wide variety of sounds to emulate at a
single dynamic frequency. Everyone brings their own instruments to the sound
of the sound for others to look at, creating a complete sound-piling. By
spreading it, an astonishingly multifaceted abstract soundtrack is created as a
multiple source of sound, as a rainbow.
The players get a rather vibrantly tuned, unified, vibrant colorful sound field,
where the different materials meet each other as an explosive, fragmented,
avant-garde musical manifestation.
Jouko Kirstilä (translation from Finnish)
The Berlin- based and operating soprano saxophone player Harri Sjöström has
gathered an international quintet around him, which musicians represent all
different nationalities. The MOVE quintet has been in operation for over three
years and its members, Danish double bassist Adam Pultz Melbye, Norwegian
drummer Dag Magnus Narvesen, Mexican vibefonist Emilio Gordoa Rodriguez
and German pianist Achim Kaufmann from Berlin's vibrant jazz
community.
Sjöström and Kaufmann, who already have a long career experience, have
joined the younger generation of musicians born in the 1980;s who have been
routinely trained in improvised music and show solid know-how in their earlier
projects.
The band has a clear simple vision, it is dedicated to improvised music in the
moment and in the state where it is present. When the band visited a year ago at
Hyvinkää Art Museum, the concert was recorded and has now been released as a
CD. The official release date 1.9. 2017.
The disc contains a bit less than a 40-minute track, which has been invented
just how it did happen, simply clear Hyvinkää. The Quintet carries its play in a
large sector multipurpose, generating a wide variety of sounds to emulate at a
single dynamic frequency. Everyone brings their own instruments to the sound
of the sound for others to look at, creating a complete sound-piling. By
spreading it, an astonishingly multifaceted abstract soundtrack is created as a
multiple source of sound, as a rainbow.
The players get a rather vibrantly tuned, unified, vibrant colorful sound field,
where the different materials meet each other as an explosive, fragmented,
avant-garde musical manifestation.
Jouko Kirstilä (translation from Finnish)
Very nice cd Move - Hyvinkää
Hyvinkää - Move: Harri Sjöström, Emilio Gordoa Achim Kaufmann, Dag Magnus
Narvaen, Adam Pultz Melbye 2016 uniSono Records
Move is a quintet with soprano and sopranino saxophon Harri Sjöström, vibraphone
Emilio Gordoa, piano -Achim Kaufmann, drums -Dag Magnus Narvesen and
double bass - Adam Pultz Melbye. Hyvinkää is a long 39-minute improvisation
recorded at the Hyvinkää Art Museum. It seems that the acoustics of the space
is enough reverberant, forcing the musicians to play with relative restraint,
concentrating on the sound details. Dag Magnus Narvesen plays the tip of the
drumsticks on the cushioned skins, touching the cymbals, allowing the clearest
possible sound of Achim Kaufmann's piano to the classical contemporary
sounds and the warm and full of nuances of the saxophonist Harri Sjöström
who seems to be the facilitator of the group. Harri is a master of the soprano in
the line of Steve Lacy, with whom he studied. His sense of nuances for each
note played distinguishes him from the tenors who use the soprano to diversify
their music. The vibraphonist Emilio Gordoa spreads his light and fleeting
clusters of ethereal notes around those of the pianist. It develops a game that
fits perfectly with that of the soprano sax to the point where, because of the
reverberation, one risks to confuse them. The bassist sustains and marks the
startling moments ... until the saxophonist shreds the timbre of his soprano
stretching and altering a game he inherited from Steve Lacy and of which he
knows subtly to put the parameters in question when the need is felt. This
evokes the great delicacy of Trevor Watts at the time of the EMS with John
Stevens and the audacity of his comrade now disappeared, Wolfgang Fuchs
with whom Harri shared the experience of Nicht Rot Nicht Grun with Paul
Lovens and alto violinist Karri Koivukoski in the late 80s. Unlike Move, this
amazing band was never recorded. On the other hand, there are some
recordings of Cecil Taylor with Harri (Qua and Qua Yuba - CT Quartet / Cadence
1092 and 1098, Melancholy, Always a Pleasure, Light of Corona / FMP Records)
not piqued worms. What I particularly like in this Move quintet is the way the
musicians play together, building a cohesive and diverse collective game where
everyone spontaneously brings his instant contribution by interpenetrating
their sounds and actions in the sound field. A beautiful concert that plays
acoustic conditions and demonstrates that free improvment with five
musicians requires a state of mind where a form of self-discipline in mutual
listening and interventions is a fundamental attitude.
Jean – Michel Van Schouwburg
Hyvinkää - Move: Harri Sjöström, Emilio Gordoa Achim Kaufmann, Dag Magnus
Narvaen, Adam Pultz Melbye 2016 uniSono Records
Move is a quintet with soprano and sopranino saxophon Harri Sjöström, vibraphone
Emilio Gordoa, piano -Achim Kaufmann, drums -Dag Magnus Narvesen and
double bass - Adam Pultz Melbye. Hyvinkää is a long 39-minute improvisation
recorded at the Hyvinkää Art Museum. It seems that the acoustics of the space
is enough reverberant, forcing the musicians to play with relative restraint,
concentrating on the sound details. Dag Magnus Narvesen plays the tip of the
drumsticks on the cushioned skins, touching the cymbals, allowing the clearest
possible sound of Achim Kaufmann's piano to the classical contemporary
sounds and the warm and full of nuances of the saxophonist Harri Sjöström
who seems to be the facilitator of the group. Harri is a master of the soprano in
the line of Steve Lacy, with whom he studied. His sense of nuances for each
note played distinguishes him from the tenors who use the soprano to diversify
their music. The vibraphonist Emilio Gordoa spreads his light and fleeting
clusters of ethereal notes around those of the pianist. It develops a game that
fits perfectly with that of the soprano sax to the point where, because of the
reverberation, one risks to confuse them. The bassist sustains and marks the
startling moments ... until the saxophonist shreds the timbre of his soprano
stretching and altering a game he inherited from Steve Lacy and of which he
knows subtly to put the parameters in question when the need is felt. This
evokes the great delicacy of Trevor Watts at the time of the EMS with John
Stevens and the audacity of his comrade now disappeared, Wolfgang Fuchs
with whom Harri shared the experience of Nicht Rot Nicht Grun with Paul
Lovens and alto violinist Karri Koivukoski in the late 80s. Unlike Move, this
amazing band was never recorded. On the other hand, there are some
recordings of Cecil Taylor with Harri (Qua and Qua Yuba - CT Quartet / Cadence
1092 and 1098, Melancholy, Always a Pleasure, Light of Corona / FMP Records)
not piqued worms. What I particularly like in this Move quintet is the way the
musicians play together, building a cohesive and diverse collective game where
everyone spontaneously brings his instant contribution by interpenetrating
their sounds and actions in the sound field. A beautiful concert that plays
acoustic conditions and demonstrates that free improvment with five
musicians requires a state of mind where a form of self-discipline in mutual
listening and interventions is a fundamental attitude.
Jean – Michel Van Schouwburg
About MOVE / Hyvinkää
The soundtexture(soundknittings) in the Soundtracks recorded transmit a high
sensitivity with which the group takes common expression out for new,
unknown searches. The Quintet carries its play in a large sector multipurpose,
generating a wealth of different voices on a common dynamic frequency.
Everyone brings their own instrument to the sound of the sound for others to
look at, creating a complete sound consolidation.
By Spreading it it creates a astonishingly multifaceted abstract sound of the
spectrum that becomes diverse as a rainbow. The players reach a very vibrantly
tuned, unified, vibrant, colorful sound field where different elements meet
with each other expoding in fragments and a avant-garde musical
manifestation. The Quintet carries its play in a large sector multipurpose,
generating a wealth of different voices on a common dynamic frequency.
Everyone brings their own instrument to the sound of the sound for others to
look at, creating a complete sound consolidation. By spreading it, the
astonishingly multifaceted abstract sound of the spectrum becomes more
diverse and colore full (diverse) like a rainbow.
Matti Komulanen (Turun Sanomat)
The soundtexture(soundknittings) in the Soundtracks recorded transmit a high
sensitivity with which the group takes common expression out for new,
unknown searches. The Quintet carries its play in a large sector multipurpose,
generating a wealth of different voices on a common dynamic frequency.
Everyone brings their own instrument to the sound of the sound for others to
look at, creating a complete sound consolidation.
By Spreading it it creates a astonishingly multifaceted abstract sound of the
spectrum that becomes diverse as a rainbow. The players reach a very vibrantly
tuned, unified, vibrant, colorful sound field where different elements meet
with each other expoding in fragments and a avant-garde musical
manifestation. The Quintet carries its play in a large sector multipurpose,
generating a wealth of different voices on a common dynamic frequency.
Everyone brings their own instrument to the sound of the sound for others to
look at, creating a complete sound consolidation. By spreading it, the
astonishingly multifaceted abstract sound of the spectrum becomes more
diverse and colore full (diverse) like a rainbow.
Matti Komulanen (Turun Sanomat)
"Move"; at the Jena Theaterhaus.
This was a special experience.
Black curtains, a high stage room and a sparsely lit stage. Then the five
musicians entered the stage: Harri Sjöström (sopransaxophone, sopranino),
Matthias Bauer (bass), Dag Magnus Narvesen (drums), Emilio Gordoa
(vibraphone) and Achim Kaufmann (piano). What happened in the next hour,
musically at the Theaterhaus stage, were great improvisations, almost a kind of
musicperformance and experimental modern jazz at its finest. Each of the
musicians has a love affair with his instrument. What each of them elicited from
his instrument in tones and noises and in the overall sound, was born from the
moment and in this sense was unique. A sound that can be calm, almost
melodic, and in the next moment, it becomes an explosive mixture. Move
straight - movement. Each of the five top jazzers listened closely to each other.
What Harri Sjöström elicited from his saxophones was breathtaking. Joy and
lamentation he can express, lightning clean sounds, even kissing he can do with the
saxophone. Achim Kaufmann provided a powerful drive on the piano. Not only
did he reach into the keys, but he created a strong pizzicato with a brave handle
in the strings. Matthias Bauer used his bass soon, stroking, then plucking, to
give the sound a solid foundation. Dag Magnus Narvesen drifted the rhythm on
the drums and impressed with powerful beats. On vibraphone Emilio Gordoa
proved to be a magician. In addition to the game of flails and arches, he used a
variety of noises, until at the end he released some parts of his instrument and gave it
a "mouth organ";. In this way, an avant-garde overall sound, far-reaching in
space and time, and grounded by humor and joy of play. Five friendly musicians
have shown what can be achieved with experimental improvisation movements.
D. Ebert
This was a special experience.
Black curtains, a high stage room and a sparsely lit stage. Then the five
musicians entered the stage: Harri Sjöström (sopransaxophone, sopranino),
Matthias Bauer (bass), Dag Magnus Narvesen (drums), Emilio Gordoa
(vibraphone) and Achim Kaufmann (piano). What happened in the next hour,
musically at the Theaterhaus stage, were great improvisations, almost a kind of
musicperformance and experimental modern jazz at its finest. Each of the
musicians has a love affair with his instrument. What each of them elicited from
his instrument in tones and noises and in the overall sound, was born from the
moment and in this sense was unique. A sound that can be calm, almost
melodic, and in the next moment, it becomes an explosive mixture. Move
straight - movement. Each of the five top jazzers listened closely to each other.
What Harri Sjöström elicited from his saxophones was breathtaking. Joy and
lamentation he can express, lightning clean sounds, even kissing he can do with the
saxophone. Achim Kaufmann provided a powerful drive on the piano. Not only
did he reach into the keys, but he created a strong pizzicato with a brave handle
in the strings. Matthias Bauer used his bass soon, stroking, then plucking, to
give the sound a solid foundation. Dag Magnus Narvesen drifted the rhythm on
the drums and impressed with powerful beats. On vibraphone Emilio Gordoa
proved to be a magician. In addition to the game of flails and arches, he used a
variety of noises, until at the end he released some parts of his instrument and gave it
a "mouth organ";. In this way, an avant-garde overall sound, far-reaching in
space and time, and grounded by humor and joy of play. Five friendly musicians
have shown what can be achieved with experimental improvisation movements.
D. Ebert