Jean-Marc Foussat/Urs Leimgruber/Carlos Zingaro

MUC Chamber Art Trio
Resilient Perspectives … a real fact?
FMR CD 634-0822

A heady mixture of reeds, strings and electronics, these European sessions show how rewarding mixing timbres from far-from-akin sound sources can be affecting if worldly improvisers are involved. An all-German affair, the MUC Chamber Art Trio is laptop guitarist Gunnar Geisse, who among many groups is a member of the ICI ensemble; bassist Sebastian Gramss, who works with the likes of Philip Zoubek; and saxophonist/clarinetist Udo Schindler, who has improvised with multiple players over at least three decades. More international, L’Aile d’Icare is one long instant composition by Swiss saxophonist Urs Leimgruber, Portuguese violinist Carlos Zingaro and French synthesizer master Jean-Marc Foussat, all, of whom have experience working with a cross section of creative musicians.

Focused on the unexpected, L’Aile d’Icare intermingles electronic whooshes and oscillations with reed ands string extended techniques. On top of Foussat’s wiggling wave forms and drones, Leimgruber and Zingaro do everything short of disassembling their instruments to produce original intonation. Moving among siren-like whines, staccato bites and minimalist sighs, Leimgruber faces Zingaro’s arco swipes which include spiccato swipes, Jew’s harp-like twangs and concentrated string buzzes. Each evolution can also be doubled by programmed electronics which also introduces field recorded footfalls and voices. By mid-point fiddle stops and squeaks coalesce into sweeping glissandi as reed peeps and tongue slaps settle into a sequence of circular breathing. Both structures evolve over a tapestry of staticky buzzing with this blunt deciphering further segmented with bell-like pealing. Despite Foussat’s synthesized rumbles, the concluding sequence involves formalist reconstruction with violin expression as mellow as it is spiky and reed vibrations muted. Finally a near bugling nasal push from the saxophone and string trills are doubled by synthesizer expression until electronic squeaks signal the end.

Divided into five tracks, Resilient Perspectives gets its electronic boost from laptop guitar manipulation. But as the tunes evolve at various tempos, slurred burbles and growling vibrations from Schindler plus upward string slices and sul tasto stops contribute to theme deconstruction and at points its later reconfiguration. While some of the sequences emphasize the trio’s kaleidoscopic blending which concentrates and expands smears, buzzes and alternating high and low pitches, individual strategies stand out. For instance the bassist’s consistent rhythmic pacing on “New Strength Arises’ introduce Geisse’s electronic crackling which easily connects with Schindler’s overblowing and lip burbles. Individual string vibrations from the guitarist create a solid mass when attached to bass string buzzes and reed split tones. A similar transformation occurs on “Does Not Have To Be Unchangeable”. While Schindler scoops chalumeau register tones from his horn and bent note oscillations echo from the guitar, Gramss’ bowed continuum regularizes the exposition. Further the guitarist’s peg-tuning pops and string straining mirror bass swipes as well as snuffles and snarks from widened irregular reed vibrations. Despite the emphasis on hardware, unforeseen acoustic thrills and chills are always audible during these trio discs. Both of which also satisfy and impress in unique fashions.

–Ken Waxman

Track Listing: Resilient: 1. A Resilient Order 2. Does Not Have To Be Unchangeable 3. From The Adjustment 4. New Strength Arises 5. For Credibility

Personnel: Resilient: Udo Schindler (alto, sopranino saxophones, bass clarinet); Gunnar Geisse (laptop guitar) and Sebastian Gramss (bass)

Track Listing: Aile: 1. L’Aile d’Icare

Personnel: Aile: Urs Leimgruber (soprano, tenor saxophones); Carlos Zingaro (violin) and Jean-Marc Foussat (AKS synthesizer, voice)