FMP/FREE MUSIC PRODUCTION - An Edition of Improvised Music | 1989-2004 |
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FMP CD 67 Bert Noglik |
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Rooted to the ground yet taking off. Still in touch with the ground, but already taking off. New Music in the process of its creation. Three individuals, whose mentalities and musicality find each other, although originating from completely different areas of experience. The getting together of Leo Smith, Peter Kowald and Günter Sommer at the end of the seventies, beginning of the eighties marks a special case in Improvised Music. The trio falls outside of the framework of developments described in terms of American Jazz or 'European emancipation', it does not aim at the dissolution of the rhythmic continuum and the sensitivity to the minute details of sounds of British provenance, nor at the abstractions of Powerplay, nor at the ethnically influenced ways of playing of 'Great Black Music'. Obviously, in the same way, that everything can be found in everything, the trio Smith/Kowald/Sommer has its associations with all of the above mentioned areas of playing, but the fundamental approach is different, it originates from the superimposing of the different approaches. With its strange movement between static and drive, between meditation and expression, this music is not fixed to a particular time period, races ahead of developments in a totally unspectacular way. 15 years later, Günter Sommer said, that during that period, answers were given and questions were asked simultaneously. Their wish to get back together had become stronger over the years, because the ground they had tilled together had never really been reaped. Smith/Kowald/Sommer or Chicago-Wuppertal-Dresden, as the trio called itself alluding to their places of departure, sparkles as an unfinished chapter in the history of music. Trio-situation.
In the unusual combination of instruments trumpet or flugelhorn, bass and drums plus extras such as percussion, organ-pipes, sanza, etc., which are not seen just as "little instruments", but as voices having similar rights, all three musicians are - consistently - of equal importance. The music defines itself through the notes which are played just as much as through those which are omitted. The requirement to operate constantly both as a collective and as soloist, led to increased attentiveness and sensibility. Since working in trio with Leo Smith and Günter Sommer, Peter Kowald has put his groups together very consciously and has hardly acted as 'sideman' anymore. In the course of this process - parallel to his "Hörmusik"*, the duo with Hans-Günther Wauer and the quartet with Fred Van Hove, Phil Wachsmann and Mark Charig - , Günter Sommer developed a way of playing, which attributed a previously unknown importance to the combination of sound and rhythm and how they develop in space. And Leo Smith has integrated his musical conception into a context together with European improvisers, something which was, at that time, not only completely new in itself, but which also led to new results. A fundamental condition for being able to constantly listen and react to each other is, above all, the transparent tone of the trio. Even more important is, perhaps, the unprejudiced openness in the way the three musicians deal with each other. Concentration.
In the case of Leo Smith, through his feeling for discontinuous clusters full of tension and through his way of producing sounds full of nuances , each sound gains in importance, particularly through his use of economy. Regarding Leo Smith's playing, Günter Sommer has pointed to his sense of what's valid: Improvisation as binding the playing in a sequence of lived moments. Peter Kowald has mentioned the "undramatic" character of Leo Smith's music. Leo never wanted to get anywhere, he was always there already. Spirit. Like a little tribe they got together, a rare ethno group with different backgrounds. In a mini-van they toured the impassable areas of the "culture industry", turned up to do concerts here and there, playing a kind of music, which left those stunned, who committed themselves to listen. With their feet on the ground, but taking off just a little bit. Without a message, but with a claim: with sounds and rhythms, which are enough in themselves and at the same time point to something else. Translation: Isabel Seeberg & Paul Lytton |
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