Record Reviews

FUSK ~ FUSK WHYPLAYJAZZ 005 (Barcode: 4050486034583) ~ DENMARK ~ Jazz Recorded: 2010 Released: 2011 This is the debut album by the Danish / German quartet FUSKFind albums by this artist led by Danish drummer / composer Kasper Tom ChristiansenFind albums by this artist, which also features the Danish bassist Andreas LangFind albums by this artist and the German saxophonist Philipp GropperFind albums by this artist and bass clarinetist Rudi MahallFind albums by this artist, who is also a member of the Kasper Tom 5Find albums by this artist ensemble. The album presents nine original compositions, seven of which are by Christiansen and the remaining two are group compositions. This album is a superb example of contemporary modern European Jazz developed and created by a young generation of greatly talented individuals who are lucky to grow up in the affluent borderless Europe, which enables a much wider access to musical education and international cooperation than just a few decades earlier. These young musicians are able to size the moment and exploit this new reality, which results in an explosion of young international groups playing Jazz and Improvised Music all over the continent. Christiansen, who has been recoding music both as a leader and a sideman for several years before forming FUSK, established his position as one of the leaders of this new European scene, playing extensively with Scandinavian, German, Polish and other young musicians and additionally developing his skills as a composer, which came to full fruition with FUSK. Here he presents his most adventurous works and the quartet turned out to be an ideal vehicle for exploring his music. He is one of the relatively few drummers, who are bandleaders and principal composers in their ensembles. As a team Christiansen and Lang are one of the strongest and most imaginative rhythm sections on the European scene and this album is full of wonderful examples of their telepathic interplay. Supported by such an excellent rhythm section the two soloists are able to spread their wings and explore the freedom of improvisation in full. Both Gropper and Mahall gently weave their lush structures, both individually and collectively, creating a highly aesthetic whole. Overall this is an exciting and wonderful album from start to finish, full of surprises and one that keeps the listener on his toes from start to finish. Considering the fact that it is a debut recording, the result is even more commendable. Well done indeed!

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FUSK ~ SIEBEN ACHT GUTE NACHT FOR TUNE 0048 (Barcode: 5902768701548) ~ DENMARK ~ Jazz Recorded: 2012 Released: 2014 It´s been a while since Shakespeare pointed out that "Something is rotten in the state of Denmark"; as a matter of fact nothing could be further from the truth as far as the state of Danish Jazz in the second decade of the 21st Century is concerned. The country is enjoying an incredible renaissance of its Jazz scene, which thrived between 1950s and 1970s, when the legendary Copenhagen Jazzhus Montmartre club often seemed like one of the epicenters of European modern Jazz, and a long list of great American expatriates lived in Denmark at the time. The difference is that this time around it is the young generation of incredibly gifted Danish Jazz musicians who are setting the tone. The last few years of the Danish drummer / composer Kasper Tom ChristiansenFind albums by this artist´s career have been definitely good years; a succession of recordings and concerts as a leader of a number of ensembles firmly established his position as one the most prolific and outstanding young European Jazz musicians and his progress and development are continuously in full swing. Kasper Tom is quite an unusual musical figure, firstly being one of relatively few drummers / leaders and secondly and even more extraordinarily being the main composer of the material performed by his ensembles. We all know the jokes told about drummers and Kasper Tom simply shatters all these stereotypes. One of the effects of today´s European reality is the fact that international cooperation is easier and more common today then ever. Kasper Tom definitely seems to be able to explore that degree of freedom to the max, playing with other young musicians not only from his native Denmark, but also those from Poland, Germany and other countries. The quartet FUSKFind albums by this artist is an example of such international collaboration, with joins two Danish (Christiansen and Andreas LangFind albums by this artist) and two German (Philipp GropperFind albums by this artist and Rudi MahallFind albums by this artist) players. This is the quartet´s third album and the first live recording, captured at the legendary Warsaw Pardon, To Tu club, one of the most important alternative Jazz venues in Europe. The music is a wonderful display of Kasper Tom´s talent as a composer. His tunes are always somewhere between a catchy melodic theme and an open structure ideal for improvisation and exploration. Such incredible balance is quite rare and difficult to achieve and yet Kasper Tom manages to create these tunes with astonishing ease and versatility. Handled by the FUSK quartet, these tunes playfully follow one after another effortlessly, although they are anything but trivial or easy on the ear. The incredible strength of this music lies exactly in the fusion of melodic approach and complex execution, which result in aesthetic pleasure experienced by the listener, often unaware of its ingredients. It is quite educational to compare the music captured here with the studio version of the same tunes presented on the previous album, called "Super KasperFind albums with this title", which was recorded almost immediately after the Pardon, To Tu session. The ambience and the audience of the club, which I know personally very well from first hand experience, have a distinctive influence on this performance. In an ideal world we would always have an opportunity to hear the same music recorded live and in the studio; this album is therefore the ideal partner to the studio recording. European Jazz still manages to reinvent itself and push its boundaries ever further away from the stale mainstream tradition. Thanks to the young generation of Jazz players, which fearlessly explores the Jazz aesthetic, often against all odds, shunning from fads and fashions of contemporary non-culture, we are able to see our beloved music alive and kicking, going through another stage of its evolution. Kasper Tom and his colleagues all over Europe are our hope for the survival of what we consider true Culture, even if we need to enjoy it in the catacombs rather than in the amphitheaters. Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 19/09/2018Posted:

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FUSK ~ SUPER KASPER WHYPLAYJAZZ 009 (Barcode: 4050486086735) ~ DENMARK ~ Jazz Recorded: 2012 Released: 2013 This is the second album by the Danish / German quartet FUSKFind albums by this artist led by Danish drummer / composer Kasper Tom ChristiansenFind albums by this artist, which also features the Danish bassist Andreas LangFind albums by this artist and the German saxophonist Philipp GropperFind albums by this artist and bass clarinetist Rudi MahallFind albums by this artist, who is also a member of the Kasper Tom 5Find albums by this artist ensemble. The album presents eleven original compositions, eight of which are by Christiansen and the remaining three are group improvisations. Christiansen is one of the most prolific young European Jazz personalities in the last decade and participates in several diverse ensembles in parallel, both led by him and by others, which involve musicians from different European countries. This kind of international collaboration is one of the most creative ingredients of the new European Jazz scene, where the artists can enjoy the freedom of movement without any restrictions and some take advantage of it quite broadly. As a result of his recordings Christiansen has established quite a reputation not only as a player and bandleader, but particularly as a superb composer of diverse stylistic approaches. His work is worth following across the broad spectrum of his creative output, of which FUSK is just a singularity. The music presented here emphasizes the freedom and openness in his compositions, which are based on short melodic themes which are then explored by the quartet quite liberally and without limitations. Of course even if the music is mostly improvised, both harmonically and rhythmically, it is neither chaotic nor disorganized, keeping well within the boundaries of group improvisation. The quartet members obviously listen to each other attentively and support each other constantly. There is an overall feeling of tenderness and respect and none of the aggression often associated with group improvisation is present here. The individual performances are all first class, with the two soloists obviously standing up front most of the time, but with the rhythm section firmly involved as well. Lang´s bass and Christiansen´s drumming are an excellent example of superb contemporary rhythm section work, which is nonabrasive and nonaggressive and yet keeps the music moving forward on a solid track. The music recorded on this album was also recorded live at the legendary Warsaw Pardon, To Tu club shortly before being recorded in the studio, and it´s highly recommended to listen to both versions, in order to appreciate the dramatic influence of a live audience on a Jazz performance. The live album is scheduled to be released on the Polish For TuneFind albums on this label label. Kasper Tom Christiansen and his cohorts are the new generation of European Jazz and judging by their accomplishments we have little to worry about the quality of the music they will create. What kind of impact this kind of music will have on the general Culture of the continent is another question…

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FUSK ~ THE JIG IS UP WHYPLAYJAZZ 043 (Barcode: 4250459991442) ~ DENMARK ~ Free Jazz / Improvised Music Recorded: 2017 Released: 2018 This is the fourth album by the European Jazz quartet FUSKFind albums by this artist, led by Danish drummer / composer Kasper Tom ChristiansenFind albums by this artist, which also includes for the first time Polish trumpeter Tomasz DabrowskiFind albums by this artist, and founding members: German bass clarinetist Rudi MahallFind albums by this artist and Danish bassist Andreas LangFind albums by this artist. The album presents ten original compositions, all by the leader. Christiansen and Dabrowski cooperated and recorded together many times in the past and therefore the fact that Dabrowski joined the quartet is only natural, replacing German saxophonist Philipp GropperFind albums by this artist, who was a member since the inception of the quartet. Although the music of FUSK is first and foremost a reflection of Christianson´s compositions, the presence of Dabrowski changed the internal balance and the overall sound of the quartet, taking it slightly back towards the American Jazz tradition and the early Free Jazz explorations of the late 1950s and early 1960s. Of course it is only one of the many aspects of this music as a whole and FUSK retains all its European Jazz qualities, but at the same time pays tribute to the Free Movement innovators. As usual, the music is based on highly complex and yet wonderfully melodic themes, which Christianson so ably creates, which in turn provide ideal platform for the quartet members to develop their individual and collective statements. The beautiful bass clarinet / trumpet double parts are one of the highlights of this album, as both Dabrowski and Mahall are able to keep an almost "romantic" form of dialogue between them, which is intriguing without being aggressive. Lang and Christiansen are a highly sensitive and technically fabulous rhythm section, which is standing shoulder to shoulder with the two soloists, participating equally in the process of group improvisation and mutual creation. The scope of the compositions, and as a result the scope of the music presented on the album is very diverse, which creates an element of tension with the listener not sure as of what to expect next. The music movies in and out between the improvised and precisely composed parts, often several times within the same track, with the rhythmic parts changing from no time to almost swinging time in an blink of an eye. However a blissful and relaxed feeling of order and coherence is present at all times and the music never falls apart in spite of its intricacy. For an experienced Jazz connoisseur this album is a lecture of Jazz, and especially Free Jazz history, delightfully illustrated by the music. Not surprisingly it is a wonderful piece of music, which should be enjoyed by as many listeners as possible and another milestone in Christiansen´s path, which is one of the most consistently excellent on the burgeoning European Jazz scene. Hats off, again, Maestro!

Updated: 12/05/2018Posted: 12/05/2018

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GROPPER / GRAUPE / LILLINGER ~ RIOT WHYPLAYJAZZ 030 (Barcode: 4250459990902) ~ GERMANY ~ Avant-Garde Jazz Recorded: 2015 Released: 2016 This is the sixth album by the German Avant-Garde trio, which exists since 2003, formerly known as Hyperactive KidFind albums by this artist, which consists of saxophonist Philipp GropperFind albums by this artist, guitarist Ronny GraupeFind albums by this artist and drummer Christian LillingerFind albums by this artist. The album presents eleven original pieces, four each by Gropper and Graupe and three by Lillinger. The trio decided to drop the Hyperactive Kid moniker and open a new chapter of their creative path, with an immediate result of going even further away from the conventional musical world into extreme Avant-Garde, which completely beats classification. One can hardly hear any melody, cohesive continuum or structural development in the trio´s music, only a sequence of sounds produced by the musicians, who interact which each other at times but soon seem to venture into individual explorations. The thin line between freedom and havoc can be defined here individually by every listener, as the music obviously refuses to set any boundaries itself. It is impossible to express any judgmental statement about such music simply for the luck of conventional criteria, which could be applied. Therefore the only reference should remain on the emotional level, basically concerning the fact if this music touches the listener at all, and if so, how profoundly. As a result my opinion in this case is truly irrelevant to other listeners, as everyone will be facing it completely differently on their own. One can only admire the consistence and the artistic courage displayed by these three still quite young musicians, who refuse to give up their individuality and pursue a path less traveled. This album is the thirtieth release on the extraordinary independent German WhyPlayJazzFind albums on this label label, run and owned by Roland SchulzFind albums by this artist, which sets an example of great taste and artistic courage since 2005. It is thanks to people like Schulz that European Jazz still manages to discover new territory day after day. Hats off!

Updated: 12/04/2019Posted: 19/09/2016

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PHILIPP GROPPER / PHILM ~ LICHT WHYPLAYJAZZ 007 (Barcode: 4050486070048) ~ GERMANY ~ Jazz Recorded: 2011 Released: 2012 This is the debut album by the quartet called PhilmFind albums by this artist, led by German saxophonist / composer Philipp GropperFind albums by this artist and including Norwegian pianist Havard WilkFind albums by this artist, Danish bassist Andreas LangFind albums by this artist and German drummer Oliver SteidleFind albums by this artist. Gropper is also known as the leader of the trio Hyperactive KidFind albums by this artist and the group TauFind albums by this artist, as well as a member of FUSKFind albums by this artist, SONNEFind albums by this artist and several other projects. With over thirty albums as a leader and sideman he is one of the most prolific German (Berlin based) Jazz musicians since the turn of the Millennium. The album presents six original compositions, all by Gropper. The music presents a set of passionate statements, beautifully crafted by their composer and wonderfully executed by the quartet, which combines four individual talents into a fresh amalgam, where the total is greater than the sum of its parts. Since I´m already familiar with Gropper, Lang and Steidle from other recordings, it is Wilk who is the nicest surprise of this album, playing some superbly imaginative lines and proving to be pianist definitely worth following in the future. Lang plays his usual wonderful bass staccatos and keeps the rhythm section as an integral part of the collective improvisation. Steidle, who is another veteran on the German scene and has a fine reputation as a highly imaginative and gifted drummer justifies his standing in full. Although most of the music is improvised, it has a strong melodic ingredient, sometimes clearly noticeable but most of the time only present subconsciously. This music has a clearly defined direction and a sense of purpose, which many Free Jazz / Improvised Music recordings simply lack completely. To be completely free and unrestrained within specified harmonic and melodic boundaries is a much more sophisticated form of expression than complete tonal anarchy, something free improvisers tend to forget. Overall this is an excellent debut group effort and I´m looking forward to hearing more from where this music came from, hopefully soon!

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PHILIPP GROPPER / PHILM ~ SUN SHIP WHYPLAYJAZZ 038 (Barcode: 4250459991381) ~ GERMANY ~ Avant-Garde Jazz Recorded: 2016 Released: 2017 This is the third album by German saxophonist / composer Philipp GropperFind albums by this artist and his quartet PhilmFind albums by this artist, which also includes Austrian keyboardists Elias StemesederFind albums by this artist, Danish bassist Andreas LangFind albums by this artist and German drummer Oliver SteidleFind albums by this artist. The album presents three original compositions, the first comprising of two parts and the second and third comprising of three parts each. This time, in contrasts to the quartet´s previous album, the music, although obviously still very much Avant Garde and Free Jazz oriented, manages to present a coherent approach and less self-indulgence, which result in a more communicative whole. Of course this is still highly specialized music, which a priori is intended for a very narrow audience, but the correct balance of Freedom and Discipline makes it all happen this time. All four members of the quartet are obviously highly talented musicians, which is apparent outright. The individual statements as well as the collective interplays are all outstanding, with each musician being allowed enough space to show his chops. The synthesizer is a nice innovation to the quartet´s overall sound and expands the scope of possibilities and adds a fresh sound layer to the overall sound, all for the best. Personally I enjoy the ragged, odd and unexpected rhythmic aspect of the music on this album, which is truly fascinating and quite innovative. The ability of the musicians to keep the time together is obviously remarkable and the hats off goes to the superb rhythm section of Land and Steidle, which is simply brilliant. But of course Gropper and Stemeseder create many wonderful statements all along, which are true delight to an attentive listener. Overall this is a beautiful example of European Free Jazz at its best, with shows the renewed German Jazz scene, especially in Berlin but also in other parts of the country, revitalized by the tremendous young generation of players and open to international cooperation, like it once was in the golden 1960s and 1970s. What a joy!

Updated: 17/12/2018Posted: 08/07/2017

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PHILIPP GROPPER / PHILM ~ THE MADMAN OF NARANAM WHYPLAYJAZZ 018 (Barcode: 4050486927960) ~ GERMANY ~ Jazz Recorded: 2014 Released: 2015 This is the second album by German saxophonist / composer Philipp GropperFind albums by this artist and his quartet called PhilmFind albums by this artist, which also includes Austrian pianist Elias StemesederFind albums by this artist, Danish bassist Andreas LangFind albums by this artist and German drummer Oliver SteidleFind albums by this artist. The album presents nine original compositions, all by Gropper. The music on this album is much more Avant-Garde oriented than on its predecessor, and is much more intense, primarily due to the presence of Stemeseder, who is a completely different player from Havard WilkFind albums by this artist, who played on that album. The melodic element is almost completely gone and most of the album sounds somewhat like Musique Concrete mixed with Free Jazz. It takes a while to get used to the harsh tone and aggressiveness of this music, but eventually its intricate nature becomes more penetrable. Although all four members of this quartet are obviously highly skilled musicians, the overall effect of this music is probably way beyond the pain threshold of an average Jazz listener, even those open-minded enough to listen to Free Jazz. This music seems to mock everything there is in music as conceived by most listeners: melody, chord structure, rhythm, even the very sense of music. This is the risk Avant-Garde takes when it questions the very fabric of music, and sometimes such experiments simply take it outside the human perception. There is no doubt this album has its moments, especially when it becomes quieter and almost minimalistic. Lang´s bass lines are always a delight and they are the candle in the dark as far as this music is concerned. Steidle also does a great job keeping time when there is no time, like only the best drummers can. Gropper plays relatively sparingly, especially in view of the fact this is his music and his band, and his dark tone suits the overall scenario perfectly. Stemeseder is definitely too busy, and has a problem letting go, amassing unnecessary intensity in places where it is not appropriate, but he is a very interesting player, which I haven´t yet properly digested. Overall this is a challenging and difficult album, which requires a lot of patience to get into, but eventually can be a stimulating and interesting experience. It is definitely suitable for hard core Free Jazz / Avant-Garde connoisseurs only.

Updated: 12/04/2019Posted:

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LOTUS EATERS ~ FOR VERY SAD AND VERY TIRED WHYPLAYJAZZ 012 (Barcode: 4050486098578) ~ GERMANY ~ Jazz Recorded: 2012 Released: 2014 This is the debut album by the quartet called Lotus EatersFind albums by this artist, led by German saxophonist / composer Wanja SlavinFind albums by this artist and including pianist Rainer BohmFind albums by this artist, Danish bassist Andreas LangFind albums by this artist and drummer Tobias BackhausFind albums by this artist. Saxophonist Philipp GropperFind albums by this artist guests on one track. For Slavin, who in the past was a student of my dear friend Leszek ZadloFind albums by this artist, this is a second album as a leader, following the debut entitled "SciroccoFind albums with this title" from 2010. The album presents six tunes, five of which are originals and one is a standard by Billy StrayhornFind albums by this artist, which gives both the album and the group their respective names. In the liner notes Slavin refers to his original compositions as "inspired by" certain Jazz tunes or Jazz musicians, like Charles LloydFind albums by this artist or Hermeto PascoalFind albums by this artist. These compositions are very melodic, mostly low key ballads, full of melancholy and lyricism. The quartet performs them delicately and with an obvious respect, trying not to push them beyond their original framework. The last rack is the most open and includes an extended freely improvised section, but the overall impression is quite "conventional", which is rather unusual for the albums released on the WhyPlayJazzFind albums on this label label. The individual statements by the quartet members are all splendid. Slavin´s alto saxophone has a mellow, enchanting tone, which caresses the listener´s ears gently. Bohm does a wonderful job supporting the leader and although plays little foreground solos, his background layers are as much important. Lang is as usual simply outstanding and step by step becomes one of my favorite bassist of the young European scene. Backhaus is a bit too busy for my taste and not completely compatible with the album´s concept, but perhaps his activity provides a contrast which has a positive influence on the overall sonic result. This kind of music should be accessible to a wide range of Jazz listeners, as there is so much to like herein, that everybody can hand on to something else that strikes a chord; some will like the tunes, others the splendid performances and yet others might be delighted by the degree of freedom and space present, in spite of the seemingly "simple" approach. Regardless of the specific viewpoint, it is very hard not to like this album from the first hearing. Well done!

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WANJA SLAVIN / LOTUS EATERS ~ SALVATION WHYPLAYJAZZ 035 (Barcode: 4250459999356) ~ GERMANY ~ Jazz Recorded: 2016 - 2017 Released: 2018 This is the second album by German saxophonist / composer Wanja SlavinFind albums by this artist and his European Lotus Eaters ensemble, recorded over a period of almost a year in three studios and with three slightly different lineups of the ensemble. The collective personnel includes some of the best contemporary European Jazz musicians mostly resident in Berlin: British trumpeter Tom ArthursFind albums by this artist, Norwegian trumpeter Erik Kimestad PedersenFind albums by this artist, German saxophonist Philipp GropperFind albums by this artist, German pianist Rainer BohmFind albums by this artist, Danish bassist Andreas LangFind albums by this artist, Swedish bassist Petter EldhFind albums by this artist, German bassist Bernhard MeyerFind albums by this artist, German drummer Tobias BackhausFind albums by this artist, Latvian drummer Ivars ArutyunyanFind albums by this artist and finally American drummer Nasheet WaitsFind albums by this artist. The album presents seven pieces, six of which are original compositions by Slavin and one is standard. From the very first notes of the album it is immediately apparent that this is a modern Jazz masterpiece in every respect. The melody based compositions are dressed up in contemporary arrangements, which include unusual rhythmic patterns and harmonic structures, creating a unique kaleidoscope of superb music, which is fascinating from start to finish and does not cease to explore uncharted territory and create new aural vistas. The level of these compositions is completely breathtaking and has very little competition elsewhere within music belonging to the same Jazz dialect. The ability to create an amalgam of the Jazz tradition, Classical influences and up to date approach, which incorporates elements form electronic music and above all allows a generous amount of space and freedom for improvisation is overall extremely effective. Combined with the creative performance abilities by these excellent European musicians, the overall result that is put in front of the listener as simply a knockout. The album is full of exquisite solos by the ensemble members and of course the ensemble performance as a whole is marvelous. The subtle, but easily distinguishable differences between the three lineups are also a most effective factor that makes this music so powerful. This album is a brilliant example of what European Jazz is all about; it is evident in its highly aesthetic values, its elegance and subtlety, its refinement and sophistication, which is simply unmatched anywhere else on this planet. The young Jazz Artists from Berlin, Warsaw, Copenhagen and Oslo manage to take the Jazz idiom to the next level, leaving the old world tarried far behind. If this album is an indication as to what can be expected in 2018, life is definitely worth living and there is no better way to kickoff another year of sublime music!

Updated: 02/03/2018Posted: 02/03/2018

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SONNE ~ SONNE WHYPLAYJAZZ 001 ~ GERMANY ~ Jazz Recorded: 2005 Released: 2005 This is the debut eponymous album by the young German (based in Berlin) quartet called SONNEFind albums by this artist, which comprises of saxophonist Philipp GropperFind albums by this artist, pianist Carsten DaerrFind albums by this artist, bassist Johannes FinkFind albums by this artist and drummer Christian Lillinger.Find albums by this artist The album presents nine original compositions, three composed by Lillinger, two each by Daerr and Gropper and the remaining two credited to the entire quartet. The music of SONNE is quite typical of young European Jazz, which rebels against the mainstream Jazz tradition by decomposing its basic structures and putting them together in a form of a new collage, which is fresh and daring, but not disrespectful. Although unconventional and somewhat Avant-Garde / Free, this music still preserves the basic Jazz qualities of improvisation on a theme and cooperation with the other band members to create a new form of creative expression. This music might prove challenging to the less experienced listeners at first, but after a while it becomes in fact quite logical and even melodic, in spite of the initial strangeness and alienation. It is also beautifully preformed and well recorded, which sums up to quite a satisfactory aesthetic challenge, with should last. Gropper and Lillinger are both members of the excellent trio Hyperactive KidFind albums by this artist, which is also worth following. This album is also the debut release of the small independent German label WhyPlayJazzFind albums on this label, which in the decade since releasing this album became one of the sources of most consistently interesting European Jazz, for which it deserves our gratitude and praise.

Updated: 12/04/2019Posted:

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