Mit Musik von ua. Diagrams, GAS, Ryuichi Sakamoto, Phonophani, Oregon, Jordan de la Sierra, Robert Fripp, Anthony Braxton & Richard Muhal Abrahams, Michael Pisaro, Schneider & Kaczirek,  Stan Getz and Kenny Barron, Juhani Aaltonen and Heikki Samanto, Art Lande and Jan Garbarek …


Auszüge aus einen Interview mit Sam Gender


Diagrams: Under The graphite sky, from DOROTHY (spoken word version) / Ryuichi Sakamoto: Walker, from ASYNC

The Inward Circles: The Soul Subsisting, from AND RIGHT LINES LIMIT AND CLOSE ALL BODIES / Diagrams: Under the graphite sky, from DOROTHY / Michael Pisaro: V, from ASLEEP, STREET, PIPES, TONES

Diagrams: It’s only light, from DOROTHY / Arve Henriksen: Groundswell, from TOWARDS LANGUAGE / Ensemble Economique: Gonna get right with god, after the next cigarette, aus IN SILHOUETTE / Arve Henriksen: Realign, from TOWARDS LANGUAGE / Diagrams: Winter River, from DOROTHY

Gas: Narkopop 10, from NARKOPOP („Cavernous reverb is a constant, and the tracks are layered with the kind of hiss and electronic noise that bring to mind the frighteningly high noise floor of a massive sound system waiting to explode“, from the „Pitchfork“ Gas-review)


Schneider & Kaczirek: Duett, from RADIUS WALK / The Mountain Goats: Shelved, from GOTHS / Crescent: i’m not awake, from RESIN POCKETS / Ryuichi Sakamoto: Zure, from ASYNC

Stephan Micus: For Shirin and Kosru, from INLAND SEA  / Colin Stetson: Between Water and Wind, from ALL THIS I DO FOR GLORY („His new opus sees  a return to the unabashed singularity of his earlier work that also embraces a renewed percussive vigour. As ever with the mercurial, this is ‘jazz’ reverberating through the prisms of glitchy electronica and Steve Reich/Philip Glass-like minimalism rather than wading through the concert hall or conservatoire terrain of flowing be-bop or incendiary free jazz“, from an American review of Colin Stetson’s solo album)

Phonophani: Firmamental, from ANIMAL IMAGINATION / Brutter: Mi Tek No, from REVEAL AND RISE / The Bug Vs. Earth: Agoraphobia, from CONCRETE DESERT


Konversationen Duette zwischen Saxophone und Kavier incl. Meilensteine und Entdeckungen


„Devoting a beautiful saxophone sound to the interpretation of popular standard songs is a pursuit that goes back 80 years or more – but Scottish saxist Tommy Smith and his resourceful and sensitive piano partner, Brian Kellock, prove how much mileage remains in it here. Smith says the title was partly inspired by a Nordic reference to the way exhaled breath turns into starlike crystals on Arctic nights, and whispering and glittering are certainly descriptions that apply all over the set.

The saxophonist’s blend of frailty and power puts him in the league of colossi such as Lester Young or Stan Getz at times, and he often exhibits such control of the tenor’s deepest purr or its most diaphanous high registers that his solos sound like two saxophonists swapping phrases. A piano-boogieing version of It Could Happen to You finds Smith picking up an offhand rhythmic flick of Kellock’s and immediately shaping a phrase from it, while a yearning, swooping account of Over the Rainbow is mingled with classic Ellington, the Alfie theme and a lot more; his fluency of line at quicker tempos gets a memorable outing on a sprightly Taking a Chance On Love. For admirers of old-school jazz lyricism, it’s a classic, but music-lovers of all persuasions will recognise its consummate class.“

(John Fordham, The Guardian)


The playlist of intimate conversations: Anthony Braxton & Richard Muhal Abrahams (DUETS, 1975) / Dave Brubeck and Paul Desmond (The Duets, 1975)  / Stan Getz and Kenny Barron (People Time, 1991) / Art Lande and Jan Garbarek (Red Lanta, 1974) / Trygve Sein and Andreas Utnem (Purcor, 2010) / Tommy Smith and Brian Kellock (Whispering of the Stars, 2014) / David Liebman and Richard Beirach (Forgotten Fantasies, 1975) / Juhani Aaltonen and Heikki Samanto (Conversations, 2014)





„Isn’t it special: you can analyze it, tell a hundred stories, go mono, stereo, surround, put a hole in it, fix the hole – Sgt. Pepper stays in the dark once in a while to shed its light forever!“

(From the Daisetz Suzuki Department of Unknown Remnants)




This re-released CD double-disc was an exceedingly pleasant surprise to find in my mailbox. I’d owned the works in their LP format (a two-fer) before some thief with excellent taste copped ‚em from me. Since then, it’s been impossible to find a replacement copy ‚cause 1) it went out of print, and 2) those who purchased the release were loathe to part with it. Thus the new and used bins in record shops were barren wastelands for anyone in search of Gymnosphere. The reason for the intensity of appreciation lay in the fact that de la Sierra companioned Terry Riley, LaMont Young, Brian Eno, and Steve Reich while more prominently presaging the onrushing New Age movement. Delving into prolongations, simple and subtly tonally complex arrangements, intonation, decay, and other natural and inventive applications, the pieces remain as foundation enterprises.

Critic Thom Jurek has called the four long evolutions „mysterious, elegant, elliptica l… tender, searching, and emotionally wide open“. I find no reason to quibble. They are indeed all that and more. De la Sierra termed himself a ‚possibilist‘ and joined in the turning tide of an exploration of notes, chords, and spaces so insufficiently addressed in past canons. If I name John Cage as the touchstone antecedent for everything unusual coming after his own work, this might well mis-indicate what here is simultaneously sidereal and terrene. Cage, after all, was a radical in the most extreme sense but the connections between his and others‘ work, de la Sierra’s included, are unavoidable. John went in one direction with his spirituality and aesthetics, Jordan tread in another, but both were highly attuned to such things as the value and equivalencies of negative spaces as neglected naturalistic opportunities, repetition and overlap, pitch variations, and any number of phenomena not so much as contrast or harmony but as under-appreciated modes of flow.

What you hear, though, is not a performance as such but rather a re-performance and re-recording in unusual imprint. De la Sierra recorded the pieces (in ’77) in a small studio, then let the tapes run in the Grace Cathedral, where the sounds could expand and intermesh a la Paul Horn’s late-60s Taj Mahal and mid-70s Great Pyramids experiments. As would be expected of the piano over a flute, Sierra’s work a great deal denser … delicate but denser and far more effulgently spectral, magisterial, stately without pretense. In that unusual application, the cathedral itself became the real-time, unliving, interactive performer as a team of engineers carefully captured the event. I needn’t point out that the result is quite hypnotic, an element of trance music, and one can easily picture Sufi dervishes, or maybe even you, pirouetting to the refrains.

(Mark S. Tucker,

Danke, das Du meinen Beitrag kommentieren möchtest

Diese Website verwendet Akismet, um Spam zu reduzieren. Erfahre mehr darüber, wie deine Kommentardaten verarbeitet werden.