TRESBASS : filderen

What a delicate affair – this trio of deep tones. Puzzled out and ingeniously intertwining many loose ends, piled up layer upon layer, vaguely recalling local folklore or something from far away – who did not go eastwards? Flying into passion too, avoiding any polish – a lot of skipping dance.

For all the complexity of the themes they are accessible to the ears. Softly whispering, nearly cajoling, they nestle down before you can defend yourself against them.
These three people understand perfectly how to bring the substances of the primary material out in the light, improvising, stemming their lines against the wind, throwing out their nets, having packed into their bags a good piece of love and an irresistible urge for a three-star unity – romanticism in its best literal sense is not far away here…!
Omri Ziegele, translated by Birgit Foss

Recorded 2008 by Herbert Kramis at «The Kuhstall», Wettswil near Zürich, Switzerland
Mastered 2009 by Willy Strehler at Studio Klangdach, Guntershausen, will-y@sunrise.ch

Peter Landis bsx, ss, ts,
Jan Schlegel electr, el-b,
Herbert Kramis CH b,

2135

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Freddy Studer : Voices

Drummer and percussionist Fredy Studer loves women, and on the “Voices” CD, he improvises alternately with Lauren Newton, Saadet Türköz and Ami Yoshida. Each of these three musicians is their own personality with a well-defined direction: Lauren Newton navigates the susurrations and linguistic scats of contemporary improvisation; Saadet Türköz embraces the eruptive and earthy aspects of ethnic music; Ami Yoshida explores the outer limits of sound, where the voice can no longer be recognized.
Fredy Studer, well known as the “pulse” of hardcore drumming, has continuously sought collaboration with musicians. As a result, he has established himself as an improv partner with discerning antennae. From 1996 to 2004 Studer collaborated with Robyn Schulkowsky (perc), Jin Hi Kim (komungo), Joelle Léandre (b), Dorothea Schürch (voc), DJ M. Singe (turntables) and Ami Yoshida (voc) to produce six “Duos” CDs. And in the Koch-Schütz-Studer trio, Studer worked with vocalist Saadet Türköz.
With “Voices”, Fredy Studer slips into the three musical expressions as if they were suddenly adapted to him, and naturally they are. He is at once listener and actor. The space he creates is an expression of his direct interaction with the voices. Compared with his more intemperate sets with KSS and other projects, Studer plays in a more measured manner here. He uses cymbals and small bells to create ambient textures, integrates the rippling of water, breaks into a resonant stream of drumming, circumnavigates the rhythm and generates space. The rhythms become more energetic as the intensity increases, the surfaces break and the voices stimulated.
“Voices” is not a platitudinous work that simply presents one vocalist after another. In the sequence spanning Newton, Türköz, Yoshida, Newton, Türkoz, Yoshida, Türköz, Newton, Yoshida, Newton, Türköz, the CD generates its own distinct arch. The voices are blurred, no longer belonging to their supposed singers. This disarrangement of the duets paves the way for new relationships between sound and form. Tales are told, appearing and disappearing for brief moments like forgotten films. We hear musical processes that are only seemingly separated by space and time. As is the case with any good improvisation, these 12 tracks occurred in the here and now.
Pirmin Bossart, translated by Sharon Kroska

Recorded by Esther Heeb, assisted by Ueli Karlen at Radio Studio Zürich for DRS 2, Zürich, Switzerland, February 29 and March 1, 2000 (Saadet Türköz); November 15, 2004 (Ami Yoshida); November 16, 2004 (Lauren Newton)
Mixed, edited and mastered by Esther Heeb and Fredy Studer at Radio Studio Zürich, Switzerland, March 30 and 31, April 1, 2005

Fredy Studer – Drums, Percussion, Cymbals, Gongs, Metal
Lauren Newton – Voice
Saadet Türköz – Voice
Ami Yoshida – Voice

2031

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JACQUES DEMIERRE-ISABELLE DUTHOIT : avenues

JACQUES DEMIERRE-ISABELLE DUTHOIT : avenues

UTR 4201

There is no easy comfort here, no nostalgia: the music is in situ. It

writes itself and propagates in this privileged place of the moment.

Both artists question the historical line-up of the clarinet and piano

duo while sharing and retracing in each of their performances the

immediacy of their own personal myths.

At the piano, Jacques Demierre does not cease to redraw new sound

topographies. The piano is no more just an instrument but also an

object, making us forget its physical weight. Isabelle Duthoits

clarinet and voice are at work in this space which is opened up by the

instrumental and vocal sound material: mutual filtering, unheard

morphings and her breathing, being the underlying thread, travelling

beyond its limits towards infinity.

Together they recreate the physical and sound space of the

instrumental duo and spread their respective virtuosity up to the

borders of mastery and risk: the energy that composes their music is

carnel and abstract. It is energy in movement, radical and enlightening.

Jacques Demierre piano

Isabelle Duthoit clarinet, voice

All compositions by Jacques Demierre and Isabelle Duthoit

Recorded in Lyon, France, April 2004

Studio Engineer: Christophe Germanique

Mastering: Blaise Favre

All titles are quotations from constellations et pomes concrets by

Eugen Gomringer

1919
_________________
Founded by musicians in 1983, Unit Records still represents Swiss music of a kind that is innovative, improvised and experimental – and ultimately non-viable commercially.

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STRØM : Himmeltindan

STRM

Himmeltindan

label: Stv

ref: Stv/asm 030

players: Gaudenz Badrutt (synthesizer, electronics), Christian Mller (bass clarinet, electronics)

A paradoxical encounter between experimental improvisation and structured frameworks. Organized in several stages, the materials were developed through extended experimentation and a subsequent organization of the materials according to a modular system, the various sounds being distributed according to various criteria, so as to enable a more abstract result. The clear experimental conception of the materials together with the complex process of edition recalls earlier contemporary pieces emerged from an abstract chamber environment, the thinly edited materials having their original gesture blurred in the process. And yet, in spite of the sophistication of the structure, the materials belong to the realm of low-fi, homemade, noise experimentation, although the aesthetic is far removed from the one usually associated wit it.

Un encuentro paradjico entre la improvisacin experimental y los marcos estructurados. Organizado en diversos estadios, los materiales fueron desarrollados mediante un experimentacin ampliada y una posterior organizacin de los materiales segn un sistema modular, siendo los diversos sonidos distribuidos segn diversos criterios, lo que permite un resultado ms complejo que la mera improvisacin. El evidente concepto experimental que soporta a los materiales junto al complejo proceso de edicin recuerda piezas contemporneas anteriores surgidas de un entorno camerstico abstracto, al tiempo que lo diminuto de la edicin de los materiales hace que su gestualidad original resulte perdida en el proceso. Y, sin embargo, a pesar de la sofisticacin dela estructura, los materiales pertenecen al mbito del low-fi, casero, la experimentacin con el ruido, si bien la esttica dista mucho del planteamiento habitual.

m-1690

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