Stelen

STELEN
FOURinONE

Johannes Bauer, trombone
Luc Houtkamp
alto and tenor sax
Dieter Manderscheid double bass
Martin Blume
drums



Recorded live at LOFT Cologne on January 15, 1999

”Nothing is true; everything is permitted.” – Al-Hassan b. Al-Sabbah, first Grand Master of the Assassins

”Here is music then which repels almost all those who hear it and which, among a few, produces extraordinary sensations.” – Hector Berlioz, after attending the first Paris performance of Beethoven’s C-Sharp Minor Quartet (Opus 131)

Life is a multitude of complexities: Scratch the surface and questions emerge. We are reminded almost daily of the paradoxes, contradictions, and multiple layers of our existence. Fluidity underpins permanence: Seemingly solid rock is comprised of a virtually infinite numbers of atoms moving at lightning speed. And, while we lie motionless, the earth on which we stand miraculously spins and circles, evoking little more than a yawn. Without proper perspective, a person might appear to be a mass of molecules, a television show to be an accumulation of tiny dots, and a piece of art to be nothing more than, well, globs of colored oil.

All this points to the very nature of freedom, in life and in music. What may appear to the uninitiated as random rambling – mere fuzz on the screen – may be, for those fortunate few who take the time to appreciate, to discern, to absorb – and ultimately, to enjoy – an invitation to enter a splendorific world of wonders.

The exquisite music found on this CD symbolizes the tension between freedom and order, appealing to the listener to discard predetermined notions and immerse himself (or herself) in a new world of splendors. Every piece on this recording is completely improvised, meaning that nothing is written. There are no melodies in the conventional sense, although snippets of song emerge from time to time. There is, though, tremendous variety, ranging from intense interaction to contemplative moments of shimmering beauty. There are magnificent solos from each of the players, weaving in and out of newly formed structures. And, finally, there is extraordinary virtuosity, the kind of extended techniques not often heard.

This kind of music demands not only tremendous discipline from the performers – the ability to subordinate to the group, to change focus on a moment’s notice, and express individuality within a shifting field – but it also requires incredible rapport among the players. Put four performers in a room and let them go, and nine times out of ten the results will be chaos, sometimes interesting, but rarely precious. To produce the kind of extraordinary results found here – and let there be no mistake about it – the results are very special – there must be a telepathy among performers, an extra sense, an intuitive attraction, a camaraderie. Call it the Exigencies of the Moment.

The Quartet first performed together in Austria in late 1997, and has since played throughout Europe. (An earlier genesis of the group, with American dancer Cheryl Banks, dates to 1996.) This recording captures the Quartet in peak form live in a concert in Cologne, Germany in early 1999.

The members of the Quartet are some of the leading practitioners of what has become known as free music or avant garde jazz. Martin Blume, the unofficial leader of this wholly collaborative effort, is heard on percussion, laying a groundwork for the others, but even more so, communicating as a full participant, with nuance and skill. He boasts total control over his drum set, pushing, leading, and reacting to the others. Blume has played as a sideman and leader with a who’s who of the free music scene, and he has recorded a duet with sax-ophonist Luc Houtkamp (The Field Recordings X-OR FR 7), and as part of some remarkable groups with trombonist Johannes Bauer (AufRuhr-ART 002), pianist Georg Graewe and saxophonist John Butcher (Random Acoustics 001), and vocalist Phil Minton (Random Acoustics 008).

The two horns, Dutch saxophonist Luc Houtkamp and German trombonist Johannes Bauer, have distinguished themselves as two of the leading exponents of modern improvisation. Houtkamp sports an entirely original technique that combines extraordinary control with awesome skill to chirp, sing, nudge, squeak, caress, and even disturb. Widely recorded on a series of sensational recordings on the small Dutch X-OR label, Houtkamp is fast being recognized for what he is: a giant of the sax. Trombonist Johannes Bauer also maps a unique technique, applying sophisticated modern ways to old-fashioned characteristics of his horn. Bauer slurps, trills, growls, and even speaks through brass with dizzying effects to reinvent a vocabulary of the moment that is as spectacular as it is individualized. He cajoles sounds not often heard from his instrument, and he combines these with mutes, humor, and consummate musicianship. The last member of the Quartet, bassist Dieter Manderscheid, must have fingers of steel to keep up with the pace rendered here. Well known in Germany, Manderscheid is establishing a worldwide reputation with performances in Finland, India, the United States, and Canada. His stunning use of the bow and powerful rapid strings of notes add depth and motion to the recording.

Listen to the sounds! They never stand still: They dance with joy de vivre, affirming life, with all its complexities and inconsistencies. The stellar beauty of the music lies in the order of the canvas, with richly, and even densely painted lines intersecting, sparring, bouncing off one another. Listen to it again and again. Each time new wonders emerge, new perspectives peer through the cracks, new delights peek around uncharted corners. This is Music of the Moment, yes. But it is more than that. Through the assemblage of disparate elements is a unity that transcends its time, that builds a tower of consequences, a field of dreams, a monument to wonder. The Quartet

succeeds in its act of being, its existential affirmation of the here and now. Crack its code, and discover its magic. It is not easy music to which to become accustomed: Don’t give in to impulse; just patiently persevere. Like anything worthwhile, the rewards are there.

Steven A Loewy lives in Washington, D.C. and writes for Cadence, Coda and The All-Music Guide to Jazz.