Story to go - 03 - Fremde Stimme (German Edition)

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Elf Alben! Neue Musik, auf jeden Fall!

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Auch der zum Beispiel hat ja sehr viel mit Jim Black diese ganzen rhythmischen Dinge gemacht. Der ist auf jeden Fall auch ein Einfluss: Rhythmisch, harmonisch, melodisch, auch soundlich. Fieldwork, da gibt es ein zwei sehr gute Alben. Dann auch von seinem Oktett. Die meisten wahrscheinlich. Olaf Rupp zum Beispiel ist ein unglaublicher Musiker. Der spielt nur frei Gitarre, viel Solo-Gitarre.

Wolfgang Rihm

Klar — und wer kennt schon Christian Lillinger oder Ronny Graupe? Wer kennt schon Elias Stemeseder? Gibt es einen Unterschied zur amerikanischen Szene? Nein, weil da gibt es auch so viele Leute. Man sieht es ja. Manchmal hat es auch eine musikalische Grundlage, oft aber nicht. Auch wer einen Artikel in den Jazzmagazinen oder auch in der normalen Presse bekommt: das ist meistens einfach Kohle oder PR. Aber es gibt eine andere Art von Bekanntheit, die Bekanntheit in der Szene. Und umgekehrt.

Er rollt freiwillig einen Stein immer wieder den Berg hinauf, um ihn dann mit Freude wieder hinunterrollen zu sehen. Diese Gestalt hat mich irgendwie fasziniert, auch als gesellschaftskritische Figur. Das hat mir viele Ideen gegeben. Das beschreibt eigentlich ziemlich gut, wonach es klingt, was du machst… Philipp: Ja, ich bewundere zum Beispiel Frank Gratkowski und Matthias Schubert: unglaubliche Typen, was die entwickelt haben an Sounds und so.

Eine Momentaufnahme? Letztendlich sind es meist Momentaufnahmen oder eine Dokumentation von einer bestimmten Phase, in der eine Band ist. Jedes Konzert ist eine Momentaufnahme dieses Sounds, oder? Hyperactive Kid und auch Philm leben von dem Momenterlebnis… Ja, stimmt. Gerade ist bei Hyper ist es extrem. Und wir spielen auswendig und die Leute denken dann oft, die spielen ja frei, weil die Strukturen vielleicht nicht so greifbar sind. Ich spiele auch frei improvisierte Konzerte, aber die Bands in denen ich spiele, da ist sehr viel Komponiertes.

Ich komme schon von der Tradition. Und dann irgendwann haben wir angefangen zu schreiben. Ja [lacht]… Mal schauen! What was the very first idea, musically speaking, that led you three come together as a band, that ? The bass player didn't show up for a jam. His space was filled by an adventurous spirit of freedom and joy. Back then we played standards like Inner Urge, Spiral or Nefertiti and the missing bass brought both freedom and a lot of responsibility to each of us. The challenge was playing music that is usually built on the bass without a bass.

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Also, sound-wise we had to deal with the missing warmth and unifying, connecting part of the bass. We didn't think much back then, it was simply an adventure to discover and create music together. Everybody contributed compositions and ideas and very soon we had replaced the standards with originals. No matter how complicated the music was, we always played by heart - in some rehearsals we got lost for hours in discovering endless ways to improvise over a form of maybe three or five bars.

So arranging and finding ways to make the compositions happen was always a collective and time consuming process. This, to me, is a very logical workflow: everybody bringing in and suggesting very specific things the original composer could hardly know about the other players colours and possibilities on their instruments.

Aurelia Cojocaru

Well, that idea is more of a spirit, an approach than a concept or a style. It stayed with us and showed many faces since the beginning. How has the group developed that idea so far? To me it still feels like only the beginning of circling around the essence of something. Somehow the direction the band takes is not even controllable. The music just changes along the way while each of us is trying to grow as a musician.

The development and phases of some songs we played for years could maybe serve as an image for this bigger, longtime development of a band sound. That definitely has an impact on the sound and the atmosphere on stage. Their love of music is as big as the universe. Each of them has a very defined and own vision of how their instruments should sound and of which - maybe at times surprising - role it could play.

Sometimes it seems to me they want their instruments to sound like a whole orchestra- reaching for something out there that might be possible to play Also their crazy technique and understanding of musical parameters gives both the necessary overview and thereby freedom to tell their stories in many different, even very tricky contexts. A big impact on the band sound is their love for the pure way of playing their instruments What do I bring to the band? In this trio I hardly ever have a break from playing.

Switching roles from soloing to accompanying to creating a texture or sound with the others etc. It is a big challenge to find ways on the tenor to play all these rolls. It also is kind of expected or demanded by the colleagues to surprise and entertain each other especially in songs that have been played over and over again. Being the very different characters all three of us are also creates some - most of the times - positive tension.

It is my twin brother Jan's trumpet. He also placed the plastic sword there. For no specific reason.

Der Fremde Freund / Drachenblut by Christoph Hein

None of us would dare to even touch such a difficult instrument as a trumpet! All of them. And on the long run I think it will help us come closer to the real sound of the band, and accept its own weird beauty as we don't have to create all the music we imagine with that one band. For a long time i thought the other way round: being mainly involved in that one band would force us to dig deeper as we wanted to tell all the stories within that frame. Haha, yes, definitely. For a year or so i even played his bass clarinet reeds on the tenor- the ones that didn't work for him - talking of "reeds" - hoping for more!

His musical clarity, groove, sound and beauty is overwhelming. I've loved every single note that I have heard him play. A miracle! The thing that impressed me most is his joy of creating sound - every morning in every hotel he couldn't wait to start practicing.

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I've met nobody so far who comes even close to playing the bass clarinet like him with that sound. So it is more the approach than details we talked about or i might have "stolen". Also - but it will take years to evolve in my playing - listening to Rudi gave me an idea of how to approach the flagolet - register.