Tag Archives: Bruder Beda

Draai om je oren review by Guy Peters

CF 251Trespass Trio – Bruder Beda (CF 251)
In navolging van debuutplaat ‘…Was There To Illuminate The Night Sky…’, nog altijd een van mijn favoriete jazzalbums van de voorbije jaren, werd ook de tweede plaat van dit Trespass Trio een knetterende brok intensiteit, al ligt die wat minder aan de oppervlakte.

De Zweedse rietblazer Martin Küchen is dan ook een artiest die met beide benen op de grond staat, die nog altijd een band tussen kunst en engagement in stand houdt, en in de meest uiteenlopende contexten een eigen stempel weet te drukken. Of het nu gaat om solowerk als The Lie And The Orphanage, de bruisende ensembleplaten van Angles, de schraap- en ritselimprovisatie van Chip Shop Music of dit Trespass Trio: weinig artiesten leggen zo’n passie aan de dag en slagen er in om te spelen met zo’n emotionaliteit als Küchen, wiens hyperexpressieve stijl en sound in staat zijn om zowel uitbundige levenskracht als pijnlijk verdriet uit te schreeuwen. Altijd gedacht dat moderne jazz iets was voor koude intellectuelen die muziek maken aan de hand van statistieken en wiskundige formules? Trespass Trio laat horen dat het ook anders kan.

Samen met bassist Per Zanussi en drummer/percussionist Raymond Strid heeft Küchen opnieuw een album gemaakt dat aanvoelt als een grote raamvertelling die een complete luisterbeurt afdwingt. En deze keer zit er ook een verhaal achter: dat van WOI-veteraan Ernst Gerson, die een geestelijke roeping volgde als Bruder Beda en daarna opnieuw de seculiere levensdraad oppikte, maar door zijn Joodse roots in de problemen kwam en uiteindelijk naar de kampen verbannen werd. De Joodse geschiedenis en Palestijnse kwestie zijn al langer stokpaarden van de bewogen saxofonist, dus het mag niet verwonderen dat hij ook een dergelijk verhaal vorm geeft binnen een freejazzcontext.

Zowel op de alt- als de baritonsax dwingt Küchen meteen ontzag af, met een rauwe sound van een soms verscheurende intensiteit. De haast kwakende altsax maakt vanaf de eerste seconde van ‘Ein Krieg In Einem Kind’ duidelijk dat er een bijzonder verhaal verteld gaat worden. Een schreeuwerige oplawaai zoals ‘Zanussi Times’ of ‘Strid Comes’ is er deze keer niet bij, maar Küchen heeft die in-your-face agressie niet nodig om je als luisteraar bij de lurven te grijpen. Ook hier zorgt die jankende, zeurende en fulminerende gedrevenheid weer voor een meeslepend parcours, terwijl ook de ritmesectie volop ruimte krijgt voor zowel conventionele ondersteuning en soloruimte als introverte klankexperimenten.

Dit soort jazz, die resoluut vanuit de onderbuik vertrekt, kan soms wat vergen van de luisteraar, zeker als die een houvast nodig heeft, maar voor elk weerbarstig stuk als de opener, krijg je ook een tegenhanger als ‘Don’t Ruin Me’, dat negen minuten lang op gang gehouden wordt door een statige, licht exotische baslijn, terwijl Strid de vellen bespeelt met de handen en Küchen op de bariton kiest voor een eenvoudiger invulling. Er wordt ruimte gemaakt voor een contemplatieve bassolo, wat de terugkeer van Küchen achteraf dubbel zo intens maakt. De hevigheid gaat echter nog omhoog in ‘Bruder Beda Ist Nicht Mehr’, dat vanuit dramatisch gestreken bas werkt aan een steeds sterker wentelend cyclisch patroon, met nadrukkelijke passie, volumetoename en steeds woeliger ondergrond met een sax die met steeds meer uitschieters het zootje in stukken trekt.

Sleutelstuk is ‘Today’s Better Than Tomorrow’, een compositie van Küchen die gedragen wordt door een melodie die woeste tristesse uitstraalt, maar ook aanleiding kan zijn tot andere omkadering. Zorgde het stuk bij Angles voor een emotionele oplawaai van formaat, dan gebeurt het hier subtieler, met een tussenstuk dat door Zanussi en Strid op fluisterniveau uitgewerkt wordt, en een finale die zachtaardiger paden verkent. Beluister dit echter in ideale omstandigheden – geconcentreerd en mét koptelefoon – en het is onmogelijk om niet opgeslorpt te worden door die muzikale poëzie, die een contrasterend vervolg krijgt in het gespierde ‘A Different Koko’, een korte brok freejazz die danst met een robuuste aanstekelijkheid.

‘Bruder Beda’ is een beklijvend album, dat ondanks verfijning en nuances opvalt door zijn groot kloppend hard en een onaflatende begeestering. “What can we achieve with strings, reeds, skins and sticks? Except for being ignorant music makers, what are we?” Dat vroeg Küchen zich af in de liner notes van de vorige plaat. Een mogelijke reactie, het vertellen van een prachtig verhaal als daad van verzet, ventileren van agitatie en zoeken naar berusting, is hier terug te vinden.
http://draaiomjeoren.blogspot.nl/2014/02/cd-trespass-trio-bruder-beda-clean-feed_16.html

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Jazz.pt review by José Pessoa

Martin Küchen – Histórias da vida

Também se narra com sons e este saxofonista sueco é perito nisso. Ainda vão a tempo de ouvir os filmes áudio a que deu os títulos “Bruder Beda” e “By Way of Deception”. Já fazem parte da história do jazz europeu e são incontornáveis.

Trespass Trio – Bruder Beda (CF 251)
Angles 8 – By Way of Deception – Live in Ljubljana (CF 256)
Classificação: 4,5/5
Não terá sido por acaso que os novos títulos do Trespass Trio e dos Angles, desta vez em formato de octeto (são habitualmente seis os seus integrantes), saíram ao público em simultâneo. O saxofonista sueco Martin Küchen sabe bem o que faz, tem-nos vindo a encantar com a qualidade, a profundidade e a intensidade dos seus trabalhos, e gosta de fazer entradas em grande.   “Bruder Beda” (Trespass Trio) e “By Way of Deception” (Angles 8) são ambos projectos de narrativa musical, debruçando-se sobre as injustiças e insanidades do mundo actual.
Küchen tem já uma notável experiência como compositor de música programática destinada ao cinema, à dança e ao teatro. Essa faceta surge igualmente na sua actividade nas áreas do jazz e da improvisação livre – é notável a sua capacidade para nos contar histórias ou apresentar situações que conseguimos visualizar.
CF 251Em conjunto com o contrabaixista Per Zanussi e com o baterista/percussionista Raymond Strid, apresenta-nos um álbum verdadeiramente conceptual. Fala-nos “Bruder Beda” de Ernst Gerson, um soldado veterano condecorado na Primeira Guerra Mundial que entra num mosteiro católico e adopta o nome de Irmão Beda.
Quando sai do recolhimento religioso, em 1933, as suas raízes judaicas impedem-no de trabalhar na Alemanha, pelo que vai para a Áustria e aí abriga-se em outro convento, este de convicção protestante. Dois anos mais tarde é convidado a sair. Por decreto, a partir de 1939 obrigam-no a acrescentar um apelido ao seu nome, “Israel”.
Sem sucesso, escreve ao Führer com uma reclamação “arisches Blut”. Torna-se automaticamente num traidor, num cristão “não-ariano”, num pária. É feito prisioneiro e finalmente enviado para o campo de Theresienstadt, onde ajudou a formar uma congregação católica e terá sido obrigado a ensinar crianças não-arianas). Em 1944, mandam-no para Auschwitz. Não se sabe se sobreviveu ao extermínio, por haver indícios de outra pessoa com o mesmo nome.
Para reflectir e emocionar   Será surpreendente tal história no contexto do jazz? De facto, poucos artistas seriam capazes de colocar tanta exuberância, paixão e hiper-expressiva vitalidade em jogos musicais que nos fazem reflectir e emocionar com o relato. É, no entanto, algo de pessoalmente vivido por Küchen: o frade era seu tio.
Küchen usa, tanto no sax alto como no barítono, um som cru de uma intensidade, por vezes, dolorosa, ficando a secção rítmica com muito espaço para seu apoio, para solar e para desenvolver experimentações sonoras introvertidas. Zanussi é, claramente, uma âncora para o grupo e Strid move-se com destreza e minimalmente, sempre com um aguçado sentido tímbrico.
A música aqui tocada é, naturalmente, mais intimista do que com o projecto Angles, ainda que não necessariamente menos enérgica, dado o contagiante sentido de urgência. Uma faixa fundamenal é “Today is Better than Tomorrow”, uma composição de Küchen cuja melodia encerra uma tristeza plena de poesia.   Este é um álbum que nunca recorre à superficialidade, um álbum conquistado com inteligência, sofisticação e nuance, um trabalho ímpar profundamente emotivo e cativante.
CF256A gravação ao vivo dos Angles 8 foi realizada no Festival de Jazz de Ljubljana, surgindo na colecção Ljubljana Jazz Series da editora portuguesa, e constitui um passo mais na sua dedicação às grandes formações.
Antes desta ocasião a fórmula Angles tivera uma geometria pouco variável, sendo em geral o grupo integrado por Mattias Ståhl, Magnus Broo, Mats Äleklint, Kjell Nordeson e Johan Bertling. Assim foi em “Every Woman is a Tree”, dedicado às mulheres iraquianas, e “Epileptical West – Live In Coimbra”. Ambos verdadeiros gritos de protesto contra o estado das coisas no mundo em que vivemos.
Na configuração que se ouviu na Eslovénia, Goran Kajfes substituiu Broo no trompete e o sexteto virou octeto com a adição de Eirik Hegdal nos saxofones e de Alexander Zethson no piano. A música que esta pequena “big band” faz inspira-se na Liberation Music Orchestra e nos grandes ensembles de Charles Mingus. É uma música directa, feita com transparência e sinceridade, com efeito cinemático ou teatral e por vezes grande emotividade.
É uma música apaixonada, sugestiva e brilhante, que dá predominância ao colectivo através dos contributos das vozes individuais. Essas vozes fazem-se sentir sem restrição, mas sabiamente colocadas em coesão.
Apela-se explicitamente aos ritmos latinos e africanos e a composição inclui elementos da música popular e mesmo da fanfarra (Ayler haveria de ter gostado). Esta não é nenhuma forma esotérica de free jazz – é um grito à vida e um apelo com sentido à nossa memória auditiva.
http://www.jazz.pt/ponto-escuta/2013/04/06/historias-da-vida/

Free Jazz best of 2012 list by every member of the team

End-of-year Lists Galore Allright, here they are then, the albums of the year 2012 as selected by the entire review team of the Free Jazz Collective. Each reviewer presented his (unfortunately not her) list of the ten best albums of the year. Based on the commonalities between those lists, we selected the top-10 that we all favoured.

CF256The Free Jazz Collective Top-10 albums of 2012
Eve Risser, Benjamin Duboc & Edward Perraud – En Corps
Angles 8 – By Way Of Deception
The Thing With Barry Guy – Metal!
Aram Shelton Quartet – Everything for Somebody
Henry Threadgill Zooid – Tomorrow Sunny / The Revelry, Spp
Nicole Mitchell – Arc Of O
Mary Halvorson Quintet – Bending Bridges
Martin Küchen – Hellstorm
Levity – Afternoon Delights
Stian Westerhus – The Matriarch & The Wrong Kind Of Flower

Every contributor to the blog also made his own list of preferred albums. 

Denti Alligator
Eve Risser, Benjamin Duboc & Edward Perraud – En Corps
Aaron Novik – Secret of Secrets
Neneh Cherry & The Thing –  The Cherry Thing
Bester Quartet –  Metamorphoses
Charles Gayle – Streets
Keith Rowe –  September
Mats Gustafsson – Bengt
David Krakauer –  Pruflas –  The Book of Angels Volume 18
King Tears Bat Trip –  King Tears Bat Trip
The Thing With Barry Guy –  Metal!

Paul Acquaro
CF 250Mary Halvorson Quintet – Bending Bridges
Elliot Sharp Trio – Aggregat
9 Volt – Open Circuit
Elephant9 with Reine Fiske – Atlantis
Joe Morris, William Parker, Gerald Cleaver – Altitude
Paul Dunmall & Tony Bianco – Thank You To John Coltrane
Eivind Opsvik – Overseas IV
Aych – As the Crow Flies
Scorch Trio with Mars Williams – Made in Norway
Tim Berne – Snake Oil

Tom Burris
CF 252Eve Risser, Benjamin Duboc & Edward Perraud – En Corps
Nicole Mitchell – Arc of O
Jooklo Duo & Bill Nace – Scratch
Mary Halvorson Quintet – Bending Bridges
Henry Threadgill Zooid – Tomorrow Sunny / The Revelry, Spp
Rob Mazurek Pulsar Quartet – Stellar Pulsations
Sam Rivers, Dave Holland & Barry Altschul – Reunion: Live in New York
Hairy Bones – Snakelust
Noah Bernstein – Six  Ballister – Mechanisms

Daniel Sorrelis
CF256Eve Risser, Benjamin Duboc & Edward Perraud – En Corps
Eli Keszler – Catching Net
Angles 8 – By Way of Deception: Live in Ljubjana
Angharad Davies, Tisha Mukarji, Dimitria Lazaridou-Chatzigoga – Outwash Pedro Sousa & Hernâni Faustino – Falaise
Martin Küchen – Hellstorm
Way Out Northwest – The White Spot
Mikołaj Trzaska, Ollie Brice, Mark Sanders – Riverloam Trio
John Tilbury – For Tomasz Sikorski
Henry Threadgill Zooid – Tomorrow Sunny/The Revelry, Spp.

Phil Coombs
CF256Angles 8 – By Way of Deception – Live in Ljubljana
Nicole Mitchell – Arc of O
Steve Lehman Trio – Dialect Fluorescent
Daniel Erdmann – How to Catch a Cloud
MMM Quartet – Live at Metz’ Arsenal
Emile Parisien – Chien Guepe
Aram Shelton Quartet – Everything for Somebody
Matthew Shipp Trio – Elastic Aspects
Max Johnson Quartet
Eve Risser, Benjamin Duboc & Edward Perraud – En Corps

Joe Higham
John Butcher and Toshimaru Nakamura – Dusted Machinery
Levity – Afternoon Delights
Aram Shelton Quartet – Everything for Somebody
Daniel Erdmann – How to Catch a Cloud
Marc Ducret – Tower Vol. 4
Eve Risser, Benjamin Duboc & Edward Perraud – En Corps
Outhouse – Straw, Sticks + Bricks
Arts and Sciences – New You
Kay Grant & Alex Ward – Fast Talk
Fred Lonberg-Holm’s Fast Citizens – Gather

Paolo Casertano
CF 262Stian Westerhus – The Matriarch And The Wrong Kind Of Flowers
Joe McPhee & Eli Keszler – Ithaca
Nate Wooley/Peter Evans – Instrumental Vol. 1
Colin Stetson & Mats Gustafsson – Stones
The Thing with Barry Guy – Metal
Steve Lehman Trio – Dialect Fluorescent
Martin Küchen – Hellstorm
Peter Kolovos – Black Colors
Paradoxical Frog – Union
John Tilbury – For Tomasz Sikorski

Ananth Krishnan
CF256Thomas Heberer – Cookbook
Angles 8 – By Way of Deception: Live in Ljubjana
Levity – Afternoon Delights
Trespass Trio – Bruder Beda
Maya Homburger and Barry Guy – Tales of Enchantment

Stef Gijssels
CF 249Eve Risser, Benjamin Duboc & Edward Perraud – En Corps
RED Trio + Nate Wooley – Stem
Mikołaj Trzaska Ircha Clarinet Quartet* ‎– Zikaron – Lefanay
Thomas Heberer’s Clarino – Cookbook (Red Toucan, 2012)
Mathias Küchen – Hellstorm
Wadada Leo Smith – Ten Freedom Summers
Skogen – Ist Gefallen In Den Schnee
Angles 8 – By Way of Deception: Live in Ljubjana
Pretty Monsters Dark Poetry

Martin Schray
CF 252Fire! – In the Mouth a Hand
Peter Brötzmann’s Chicago Tentet+1 – Walk, Sleep, Love
Evan Parker’s Electro Acoustic Ensemble –  Hasselt
Stian Westerhus –  The Matriarch and the Wrong Kind of Flowers
Hairy Bones – Snakelust
Martin Küchen – Hellstorm
Mats Gustafsson/Thurston Moore –  Play Some Fucking Stooges
Colin Stetson/Mats Gustafsson – Stones
Pao –  Pao
Arts and Science  New You
http://freejazz-stef.blogspot.se/2012/12/end-of-year-lists-galore.html?m=1

Free Jazz review by Stef Gissels

Trespass Trio – Bruder Beda (CF 251)
****½
In 2009, Trespass Trio released its debut album ” … Was There To Illuminate The Night Sky …”, and it was an immediate hit, at least in my end-of-year lists. The Swedish band, consisting of Martin Küchen on alto and baritone, Per Zanussi on bass and Raymond Strid on drums, is indeed exceptional.

In contrast to Martin Küchen’s other band, Angles, the trio’s approach is more minimal, more intimate, full of suppressed menace and calm development, yet also rawer and fierce, despite the similarity in themes. Compositions like “Don’t Ruin Me” and “Today Is Better Than Tomorrow” will be recognised by Angles fans.

The art work and the title of the album are highly unusual. Bruder Beda refers to a relative of Küchen “Ernst Gerson, a Jewish German veteran of the World War I who became a Catholic monk, adopting the name Bruder Beda. When he decided to return to the secular world, when both the Nazis and the Zionist movement were growing, big troubles waited for him”. Despite his efforts to claim he was Arian, he was eventually deported and killed in Auschwitz. If you read German, his story is related in this book. The whole complexity of the individual struggling with identity and trying to make his own life, his own truth, against forces trying to put him into a category of religion or ethnicity, both claimed and rejected, is well reflected in the music.

The entire mix of distress, sadness, rage and compassion can literally be felt when listening to Trespass Trio. It is moving and shocking. Hard and touching and deep.

Real music. True music.
http://freejazz-stef.blogspot.pt/

Gapplegate Music review by Grego Edwards

Trespass Trio – Bruder Beda (CF 251)
Today, a look at an attractive release from the Trespass Trio, Bruder Beda (Clean Feed 251). It is named after (and centers around) the Jewish WWI hero, priest and minister who was persecuted and martyred by the Nazis.

Fittingly the music has a serious, sober, commemorative cast. Other than one collective improvisation, these are Martin Kuchen compositions, who plays alto and baritone. Per Zanussi is on double bass, Raymond Strid on drums.

The music is free, compositional, structured, passionate, anguished, moving. Much of the music in in a minor tonality, in keeping with the theme. On alto and baritone Martin is quite convincing and the rhythm team brings an intensity of focus to the session in keeping with Kuchen’s own musical commitment.

It is one of the most distinctively alive avant trio disks to come out this year to my mind. This is music of intensity, of tenderness, rage and transcendence.

JazzWrap review by Stephan Moore

Igor Lumpert / Martin Kuchen

Innertextures Live (CF 257)
Trespass Trio – Bruder Beda (CF 251)
Two divergent releases from Portuguese label, Clean Feed, filled my listening over the last few days. And they are both worth checking out for different reasons.

Born in Slovenia but raised on the diverse traditions of both American and European Jazz, Igor Lumpert has a style that is both relaxed and complex. His training and performing with the likes of Reggie Workman, Buster Williams and Chico Hamilton to name a few probably has a lot to do it. But on Innertextures Live, Lumpert’s third release as leader, he begins to shape his voice, vision and destiny.

Innertextures seems to be a revolving cast of musicians that each delicately and diversely interprets Lumpert’s richly molded compositions. This approach reminds me of a less cerebral approach to Chicago Underground, led by Rob Manzrek. But here, Lumpert is more concerned with taking the listener on a journey of colourful expressions and hard bop tonality.

“Still Dreaming” gets things off to delightful start. Tordini’s slow infectious bassline is wrapped tightly by the always exciting Waits kit. Lumpert throws bold and muscular notes that intersect at various points with his bandmates but shows that this live outing is going modern but with a few twist and turns. “Perug” rips along in furious succession. Tordini and Waits are giving space to create some nice, big solos with lots of creative pace. Lumpert’s fury throughout this piece felt like mid-period Coltrane.

Lumpert shows great skill and beauty on “This Is For Billy Holiday.” A lovely ballad with poise and passion. It’s heavy and introspective but filled with Lumpert taking a delicate and exact approach. This piece really shows the diversity in his performance and compositions on Innertextures Live.

Remaining introspective but moving almost completely in the opposite direction, Swedish reedman, Martin Kuchen returns with a set from his Trespass Trio. Molded and wrapped in more layers than the previous two sessions with this trio, Kuchen explores more personal family history (which he has done in recent years). This time about his relative who was a World War I Jewish German veteran who later became a Monk. A passionate and intense celebration can be felt throughout the trio debut, Bruder Beda (named for the relative).

There is a deep sense of solitude from the piece “Don’t Ruin Me.” Per Zanusi and Raymond Strid provide a Jewish heritage backdrop with their steady notes and rhythm. This allows Kuchen to stretch and create a dialogue that tells the story smoothly but with thick texture. “Todays Better Than Tomorrow” feels like a suite. The opening movement is a rich cavalcade of emotions led by Kuchen. This moves effortlessly into quiet, atmospheric tones which Strid does a good majority of the improvising. The final movement sees the trio rejoining its original themes with a harder edge and then gently taking the listener downward to fade out.

The blistering “A Different Koko” and the third outtake of “Ein Krieg In Einem Kind” both present Kuchen’s ability to scale the heights of free form expression but also still maintain a sense of inner depth. That density is something even the non-familiar Kuchen listener can be drawn to. Kuchen’s lyricism envelops you by the end of this emotional journey. Very exciting work.

Igor Lumpert’s Innertextures Live is a wonderful work of romanticism and hard bop that is slightly not what you expect from the avant garde jazz label. Marting Kuchen again shows that he is one of the talented and well-sought after musicians on the European scene with Bruder Beda. With two ends of the spectrum represented – one with a modern approach, the other more spiritual and thought-provoking. You would do well to experience both of these great saxophonists. Highly Recommended and richly enjoyable.
http://jazzwrap.blogspot.pt/

Le Son du Grisli review by Guillaume Belhomme

Trespass Trio – Bruder Beda (CF 251)
Quatre compositions de Martin Küchen et une improvisation : l’hommage du Trespass Trio à Bruder Beda, moine d’origine juive déporté à Terezin en 1942, est intense.

L’art de Küchen – rare, redisons-le –, que Per Zanussi et Raymond Strid comprennent et accompagnent en conséquence avec justesse, imagine ici un mémorandum de sons mesurés, lentement imbriqués les uns aux autres, qui composent enfin un disque-relique où l’on trouve un peu de l’âme d’un frère. Sa forme opte pour le rapprochement du jazz et de cette Echtzeitmusik que Küchen loua ici même : «  Trespass Trio, il n’y a pas de doute, c’est une sorte de jazz, même si l’on y entend un million d’autres influences. Et puis, à côté de ça, je joue pas mal en qualité de faiseur de son : là, je me base sur des textures et des événements qui interviennent sur l’instant et j’utilise mon instrument de façon plus anti conventionnelle – même si cette pratique tend à devenir la nouvelle convention à la mode ! Je ne vois vraiment pas comment on pourrait qualifier cette musique : « improvisation » n’est pas tout à fait exact, alors « Instant compositions » ou, comme ils disent à Berlin, « Echtzeitmusik », seraient peut-être des propositions plus viables… »   Second élément de la discographie du trio (après …Was There To Illuminate The Night Sky…, sur le même label), Bruder Beda va donc plus loin dans ces réminiscences de jazz dissoutes en précautions improvisées. Ainsi, la figure de Beda émerge-t-elle d’un hymne sur lequel Küchen se fait maître de distorsion (non pas de la note, mais tout bonnement de son instrument) et les stations de son chemin de croix sont-elles encadrées par un archet tranquillisant et rehaussées des interventions d’un percussionniste de miniatures ajourées. Ici, comme sur Bruder Beda Ist Nicht Mehr, l’alto peut réclamer la tempête : la tempête suivra alors, mais fugace, qui en annonce une autre, tout aussi courte qu’elle : ces quelques minutes d’A Different Koko improvisé. Partout ailleurs, c’est l’expression terrible mêlée au recueillement sur une allure de déposition. Une musique de l’instant assez forte pour durer longtemps.
http://grisli.canalblog.com/archives/2012/07/27/24784555.html