Projects

Solo

Elisabeth Coudoux Solo

some poems

 

 

“Few things make me roll my eyes faster than reading about how some brave soul is now making creative music on cello, as if no one (except, maybe, Oscar Pettiford in the 1950s) had ever dared such a thing. Never mind Fred Katz, Maxine Gregg, David Darling, David Eyges, Abdul Wadud, Tom Cora, Muneer B. Fennell aka Muneer Abdul Fataah, Diedre Murray, Tristan Honsinger, Ernst Reijseger, Akua Dixon, Hank Roberts, Rufus Cappadocia, Tomas Ulrich, Peggy Lee, Laura Culver, Didier Petit, Jean-Charles Capon, Fred Lonberg-Holm, Jane Scarpantoni, Michelle Kinney, Alex Waterman, Vincent Courtois, Dana Leong, Okkyung Lee, Tomeka Reid… we could keep going awhile, but you get the idea. (And don’t forget the cello-doubling bassists: Harry Babasin, Ray Brown, Ron Carter, Sam Jones, Keter Betts, Percy Heath, Dave Holland, Peter Warren, Matthew Brubeck, Paolo Damiani.…)

              The challenge, in 2016, isn’t how to go about improvising on cello. It’s how to stake out your own territory on an instrument that’s been integral to creative music since the 1970s, when Abdul Wadud began grinding out blues lines behind Julius Hemphill.

              Elisabeth Coudoux shows how it’s done on some poems, showing off her own distinct voice on cello. She tells her own stories—or her own story, in the sense that every improviser’s personal style betrays the life experience behind it. From her sheer technique, you’d correctly surmise long classical training. But she also shows a readiness to go her own way(s). Sometimes her ability set up and sustain distinct figures in different rhythms and registers suggests the multi-strand solo music of saxophonist Evan Parker: Another tradition reveals itself.

              Born in 1985, Coudoux had arrived at the Carl Maria von Weber conservatory in Dresden in 2003 as a classical cellist with a taste for new music. While there she first heard the kinds of players mentioned in the first paragraph, and Coudoux wound up writing her thesis on the jazz cello, from the first exponents to Fred Katz’s sterling work in the ’50s, to the likes of Muneer, Reijseger and Courtois. She liked how the instrument keeps turning up in unconventional situations within jazz and free music. (Just having cello made a setting unconventional.) She’s maintained a dual perspective ever since, on cello as vehicle for both written and extemporized new music. She’s played in a few ensembles that blur the line, like Zeitkratzer and her own quintett Emißatett.

              After Dresden, Coudoux continued exploring the practice of improvising on cello at the Hochschule für Musik und Tanz in Cologne, where she is still based. There she studied with among others saxophonist Frank Gratkowski and bassist Dieter Manderscheid (whom she still works with), and workshopped with Reijseger and others.

              “I found my way to contemporary music from Xenakis, Georg Friedrich Haas, Michael Jarrell, and a lot of other composers who worked on getting different sounds from stringed instruments,” Coudoux says. “And while I was researching my thesis, I got in touch with the younger cellist Stephan Braun, living in Berlin, who’s worked on playing fast jazz lines in the thumb position, really rhythmical stuff. Another improvising cellist I like very much is Albert Márkos from Hungary, because he really developed his own style, really abstract, fast and noisy. I play in an improvising cello quartet—The Octopus with Nora Krahl, Hugues Vincent and Nathan Bontrager, who have our own CD coming out on Leo—and once when we played in Berlin, Tristan Honsinger had just finished a concert next door, and we invited him to join us for a set: very impulsive individual improviser!”

              Still, alluring as those (and other) role models may be, as we mentioned Coudoux found her own approach, and brings to this solo music an engaging mix of material. Only a couple of pieces on some poems are pure free improvisations, “a faint voice” and “besets.” For “within a sounding body,” “only time no changes” and “in a swaying ship,” she had a general idea or specific material in mind before she started. In that last case, the evocative title came before recording the final version, with its creaking rigging, and the ominous sound of cargo shifting in the hold. (You may have noticed that the titles, taken together, form a poem.) In jazz talk, ‘time, no changes’ usually refers to, say, mid-’60s Miles Davis, but Coudoux’s piece is about… something else. It may put you in mind of a subway train you can hear coming late at night that never appears. Or perhaps a leaking clarinet.

              Other pieces she calls “structured compositions.” Coudoux says, “When I was working on the material for ‘me’ in my rehearsal room, I discovered it might be good to sing a few notes, and then I wrote it out as a score. On ‘found not’ every sound is written, but it took me years to figure out what to do with the material.” For “in sounding bodies” she wrote out a roadmap to follow from one “loop” to the next but advances at her own pace.

              Improvising or composing, she avails herself of Anthony Braxton’s durable wisdom, concerning solo concerts: give each piece its own topic or area to investigate, so everything doesn’t sound the same. Thus “besets” is about pitch swarms and sliding overtones—“The cello is totally out of tune,” she notes—and “shaken boundary conditions” is mostly sotto voce, as if cello is heard at a distance. 

              Coudoux also builds in variety by using alternate tunings most of the time; she only tunes to a standard C G D A for “a faint voice,” “knut” and “me.” On “in sounding bodies” for example the strings are tuned Ab D G Bb. You might think that she’s retuning on the fly here and there on that piece, playing double stops where one note stays steady and the other curves away, but she does all that on the fingerboard—a complex move she’d picked up in a workshop with new-music bassist Stefano Scodanibbio.

              Elisabeth Coudoux can really get the overtones moving with a bow, as on “knut.” The longest track here, “in sounding bodies,” is her tour de force: an intensely rhythmic piece that is always changing and always the same, to cite an old description of minimalism. (It’s the only music I know that evokes the ’60s Steve Reich of Violin Phase and the ’70s Reich of Tehilllim.) The pulse is more or less constant, but every other parameter keeps changing, as the texture thickens and thins, and “feedbacky” overtones are set a-humming. Her arco control is subtle and precise even as the bow seems to have a will and momentum of its own.

              The room she recorded in—a modern church with a high ceiling and suspended wooden panels—really brings those overtones to life. In other settings Coudoux couples her cello to electronics, but here the music is purely acoustic, save on “within a sounding body,” which she developed with sound artist Tina Tonagel. A “bodyshaker”—a small, intensely vibrating subwoofer—was placed at the back of the cello, amplifying the only radio station that came through clearly on site, by chance serving up thumping disco at the time of recording.

              “It’s a game, to play with that,” Coudoux says, adding that this leakage is also a comment on the ubiquity of feel-good pop music in public spaces these days. Faint as it is, that disco sounds particularly incongruous in this context, a missive from a world of sound far removed from the singular one Elisabeth Coudoux creates with this exceptional program.”

–Kevin Whitehead

author of Why Jazz? A Concise Guide (Oxford)/Warum Jazz?: 111 gute Gründe (Reclam)

Foto: Tina Tonagel

Emißatett


Emißatett

Elisabeth Coudoux – Cello, komp.
Matthias Muche – Posaune
Robert Landfermann – Bass
Philip Zoubek – präp. Piano
Etienne Nillesen – ext. snare drum&cymbals

Emißatett is the realization of direct musical communication. Five voices that speak, listen and answer on equal terms. A dense but transparent building of events develops – a complex structure. There is no intellectual definition available for this experience.

It is up to the intuition of the listener whether he hears exclusively or thinks, whether he sinks into himself or looks, whether he analyzes or goes right into the music.

Some speakers use structured templates to attain new conversation topics, which are actively picked up by other composition-free voices.

At times guest speakers formulate new themes and put old compositions into a new context. The structure of Emißatett remains constantly in motion and is thus thematically always present at the current discourse.

past guests:

Erwan Kerawek – backpipe; Achim Kaufmann – piano; Axel Dörner – trumpet, Sophie Reyer – text, Carl Ludwig Hübsch – tuba, voice

Foto: Reiner Schönfeld
Foto: Reiner Schönfeld
Foto: André Symann
Foto: Johan Coudoux

Beat the Odds

|| beat the odds ||

Pascal Niggenkemper – Kontrabass
Félicie Bazelaire – Kontrabass
Ricardo Jacinto – Cello
Elisabeth Coudoux – Cello

Music for two cellos and two contrabasses whose strings are hit by a lever (sort of propeller). The variable speed motor is controlled by a foot pedal.
Pulsating organisms (beats), sustained sounds (drones) and the personal musical language of each of the four musicians create a fascinating world of sound.

* This project was initiated during a residency at GMEA in Albi, France in early 2017. Centre de Création Musicale d’Albi

* with the generous support from trinamic by providing motors for the ensemble.

Foto: Lazslo Juhasz
Foto: Iztok Zupan
Foto: Iztok Zupan
Foto: Iztok Zupan
Foto: Iztok Zupan

Octopus


Octopus

Nora Krahl – Cello
Nathan Bontrager – Cello
Hugues Vincent – Cello
Elisabeth Coudoux – Cello

 

We are Elisabeth, Nora, Hugues and Nathan. We are Cellists based in Paris, Cologne and Berlin. We love our instruments. We love music. We love improvisation!

We met in March 2013 and came together to improvise in Cologne. Four cellists who had never played as a group before. One might expect a homogeneous, ego-driven mess of sound. As it turned out, we’re all pretty generous people and something very special happened that evening. So, in a quite organic way:

OCTOPUS WAS BORN

Why Octopus? Think about it…

First: animals are, in general, cool. I mean, have you ever seen an Octopus maneuvering across the ocean floor, curling and slinging his eight arms with impressive virtuosity?

And how does that make us an Octopus? Perhaps it’s obvious: we have eight arms, too, but FOUR brains.

Like some sort of musical Voltron, however, these arms come from different places with different backgrounds. One arm plays jazz, one plays Bach, another Boulez… but they all improvise and they all listen and work together.

So there’s a lot of weird stuff happening in the Octopus brain: Clashes… discussions… unexpected deviations of thought… with 8-armed dreams leading him to amazing, unexpected paths through the unknown territories of the deep sea.

Octopus is flexible and free and therefore loves to improvise while swimming alone, but he is also open, generous and kind which means he likes working with other artistic creatures.

Foto: Johan Coudoux
Foto: Wolfgang Vogt

FRAUFRANKE​50KILOHERTZ


FRAUFRANKE​50KILOHERTZ

Tina Tonagel –
kinetische Objekte, selbstgebaute Instrumente, Overheadprojektor
Elisabeth Coudoux – Cello

 

The project by Tina Tonagel and Elisabeth Coudoux combines digital and analog technologies and merges them into a self-contained stage scenario. 
An audiovisual performance with antique violoncello, traditional horse head fiddle, historical overhead projector, kinetic objects, homemade instruments, electromechanical installations and a sense of humor.
 Despite hours in preparation, each new project is unpredictable until the actual performance itself. When these two creative ladies develop something together, it surely will get highly interesting, charming and poetic.

 

“drone, experimental, electronics, schlager-pop, spectral music, trash”

Foto: Tina Tonagel

phase::vier


phase::vier

Filippa Gojo – voice
Zuzana Leharova – violin
Elisabeth Coudoux – cello
Svenja Doeinck – doublebass

Delicate, pervious and powerful – a versatile chamber music that combines groove, composition and improvisation. With its unusual line-up, which has been in existence since 2010, phase : : vier opens up the possibility of experiencing jazz in a different manner in the broadest sense. Hereby the four musicians dedicate themselves not only to songs from various parts of the world but also to their own compositions, which are informed by a love for melody and a passion for music in all its diversity. With a maximum degree for playful creativity they develop a musical cosmos that evokes popular habits of listening. Sometimes massive sound streams rush past you or complex sonic surfaces weave into each other while in the next moment the passionate singing of an enchanting language grasps you. From time to time you are able to hear an impish wink of the eye in between. The result is a large sound space carried by four independent characters, which truly touches and invites you to be carried away by new impressions.

 

phase : : vier is occasionally being complemented by the Dutch percussionist Antoine Duijkers. Since collaborating in 2014 the quartet has found a musical ally that blends into the music with a sleepwalking manner and thus rhythmically complements the sound of the ensemble.

Kölner Stadtanzeiger
Foto: Peter Tümmers

1000 2000


1000 / 2000

1000

=

Jan Klare – saxophone, composition
Bart Maris – trumpet
Wilbert de Joode – doublebass
Elisabeth Coudoux – cello

+

Steve Swell – trombone
Michael Vatcher – drums

=

2000

Bart Maris, Jan Klare, Wilbert de Joode and Michael Vatcher founded the band 1000 in 2004. Their line-up was based on the legendary Ornette Coleman Quartet and from the very beginning they played compositions, which were actually unsuitable for improvisational music – for instance pieces by Wagner, Bach, Bennett or Monteverdi – through spectacular interpretations of such material, they established an unmistakable style early.

 

The manner in which 1000 improvised as well as the way they created ad hoc forms impressed critics right from the beginning. (“Consistently interesting quartet that keeps evolving and getting better with each release.” Bruce Lee Gallanter, Downtown Music Gallery). Over the years, 1000 learnt an almost telepathic handling – an intuitive language that fluently balances texture with energy and subtlety.

When Vatcher went to NYC in 2017, the band was in shock. After so many years of mutual deepening, the opportunity to continue seamlessly by replacing him did not occur. On the other hand, the 3 remaining members didn’t want to stop.

Eventually, the demand of concert organizers among other things helped 1000 back into being active. Since 2018, the quartet plays together with the wonderful Elisabeth Coudoux on cello.

Foto: André Symann

Peuker8


Peuker8

Paul Peuker –  guitar/compositions
Clemens Poetzsch –  piano
Mark Weschenfelder – altsax/clarinet
Florian Lauer –  drums
Eugen Rolnik – bass
Alina Gropper –  violin
Filip Sommer –  viola
Elisabeth Coudoux – cello

 

For a few years now, the return of the guitar has defined the current jazz scene. New constellations are constantly emerging, preferably in smaller groups. What once began at the end of 1960s has become more and more varied and individual after 1990. The guitar has never been as valuable as it is today and the Berliner Paul Peuker is part of this context. The studied composer and guitarist may have recorded in a trio, but his approach reaches far beyond that. In 2011, he founded the octet Peuker8 in order to realize a broader approach.  In 2014 he released his astonishing first album titled “Resound”, in which the line-up additionally to his guitar included: a piano, drums, alto saxophone, double bass, a string trio with violin, viola and cello. These fascinating fusions of jazz and European classical music, which characterized Peuker’s extraordinary compositions were highly praised.

Fortunately, Paul Peuker has remained constant with these big band formations. His sophomore album “Influx”, which grew out of many experiences of joint performing, was thus the consequential next step. Even more conclusively and with increased intensity, he fills his concept with life.

As though it couldn’t be any other way, Peuker has inscribed a balance of formal awareness and improvisational freedom into his music. This takes the rigidity out of this large contingent and turns it into an extremely flexible organism.

Further, Paul Peuker is a truly remarkable guitarist. He can animate ballads, but just as much delve into rock patterns without losing sight of the collective approach. This applies to all of the players without exception, as their sound is a common one. At times, one feels tempted to dance since the rhythmic intensity has much increased lately. The solos are also cleverly integrated into the overall cosmos, as each individual is part of the common cause.

Everyone brings his/her own experience from other band contexts to this filigree compact program. Thus, Peuker8 becomes a big common denominator of the very lively scene in Berlin, Leipzig, Cologne and Dresden. “Suddenly it’s back again, Jazz – in the big cities and improvised clubs. And at some concerts the listeners are just as young as the musicians. How so?,” Ulrich Stock recently asked in a cover story for ZEIT magazine. Peuker8 give one of the most plausible answers to that question.

Jazz Podium 3/14

Zeitkratzer


Zeitkratzer

Reinhold Friedl – piano, direction
Lisa Maria Landgraf – Violin
Biliana Voutchkova – Violin
Nora Krahl – Cello
Elisabeth Coudoux – Cello
Ulrich Phillipp – double bass
Martin Heinze – double bass
Maurice de Martin – drums, percussion
Frank Gratkowski – reeds, flute
Hayden Chisholm – reeds, flute
Hild Sofie Tafjord – french horn
Elena Kakaliagop – french horn
Hilary Jeffery – trombone
Robert Nacken – trombone
Andreas Harder – light

 

zeitkratzer is sound made visible, tangible, bodily—a corporal live music experience. The physicality of sound is celebrated through extended instrumental techniques, a deep understanding of the musical material, and amplified traditional instruments. It will make you expect more from music than you ever did!

zeitkratzer is perverting musical genres. Keiji Haino meets Karlheinz Stockhausen meets Laurie Anderson meets folk music meets Whitehouse meets Serbian war songs meets Terre Thaemlitz meets Iannis Xenakis meets Lou Reed meets The Shape Of Jazz To Come meets Arnold Schönberg. The joy of the intensity of sound and music: a challenge to both composers and non-academic noise-makers from the most talented performers, improvisers, sound artists and composers around.

zeitkratzer is a soloist ensemble. Its strength comes from its members. Founded in 1999, it gathers nine musicians and lighting and sound engineers living in different European cities — from Berlin to Palermo, from Belgrade to Oslo — meeting all over the world to work together. zeitkratzer benefits from its outstanding musicians, their advanced and unique playing techniques, their rich and multifaceted musical experience and varied backgrounds: contemporary music, noise, the Berlin Philharmonic Orchestra, improvised music, experimental rock, ambient, folk music, industrial, early music…

zeitkratzer is independent from music institutions. The ensemble finances itself through free projects and touring internationally. This freedom facilitates the idiosyncratic and groundbreaking repertoire that has made zeitkratzer internationally recognized. Faithful only to their own tastes and beliefs, they have established themselves to be one of the most intriguing ensembles to collaborate with. Musicians who have worked with zeitkratzer include: Lou Reed, Alvin Lucier, Keith Rowe (AMM), Mario Bertoncini (nuova consonanza), Jim O’Rourke, James Tenney, Merzbow, Zbigniew Karkowksi, Keiji Haino, Marcus Schmickler, Alvin Curran (musica elettronica viva), Lee Ranaldo (Sonic Youth), Laurie Anderson, Elliott Sharp…

zeitkratzer is driven by unique concert programs. Blocks of repertoire created by the ensemble can function either separately or mixed together. From the Volksmusik of the Danube, reminiscent of waltzes and zithers, to Xenakis [A]Live! an homage to the great composer with a paraphrase of his “Persepolis”; the [electronics] series, including music by and with Keiji Haino, Terre Thaemlitz, Carsten Nicolai and William Bennett of Whitehouse; the [old school] series, dedicated to the new music of John Cage, James Tenney and Alvin Lucier; Noise with Merzbow, Keiji Haino and Zbigniew Karkowski; idiosyncratic songs for soprano and ensemble; and the famous Metal Machine Music by Lou Reed, guitar feedback transcribed for amplified traditional instruments. zeitkratzer is touring worldwide and performing at renowned festivals from Tokyo to Madrid, Rome and London to Vienna, Paris and Budapest to Berlin.

zeitkratzer is not worried about preserving the “purity” of new music. Music, especially so-called new music, thrives on continuous contamination. The idea of “pure taste” as an independent aesthetic category was revealed by Pierre Bourdieu to be a medium of social distinction. “Thus, pure taste is based on nothing else but a rejection or rather disgust for the objects that ‘force us to enjoy’, such as disgust for such crude, vulgar taste that is also appealing in this forced enjoyment.”

zeitkratzer is serious music full of joy!

 

Foto: Lazslo Juhasz

Large Ensemble


Raphael Malfliet's
Large Ensemble

Raphael Malfliet – electric bass, composition (BE)
Cécile Broché – violin (BE)
Frantz Loriot – viola (FR/CH)
Elisabeth Coudoux – cello (DE)
Leonhard Huhn – clarinet (DE)
Karin De Fleyt – flute (BE)
Elena Kakaliagou – French horn (DE/GR)
Henrik Munkeby Norstebo – trombone (NO)
Carlo Costa – drums and percussion (US)
Toma Gouband – drums and objects (FR)

 

Large Ensemble

The idea of this ensemble came to existence during the writing process of my trio with Carlo Costa and Todd Neufeld (Noumenon). I first started to hear strings and kept on wanting a broader sound spectrum which opened up possibilities to work with the register. Gradually I started adding people I knew from other projects or that I had played with. When the instrumentation was final I combined my studies in contemporary composition with writing for this ensemble. I use different notations such as classic notation, graphic scores, symbols and written directions in a sort of game structure to achieve a state where the players (which are mostly improvisers) still retain their freedom but are at the same time guided to a place where I want the music to go, trying to find a balance between freedom in improvising and control in composition by leaving some parameters indeterminate.

At the same time I try to break up the traditional visual representation of this ensemble and approach every player more as actors coming on and leaving the stage for different scenes. In this scenes I work with spatialism and the acoustic projection of sound and the perception of fore and background.

The ensemble just finished a residency at KC NONA, a recording in Motor Music Mechelen and two concerts in Nona and Rataplan. Next year we play a concert at DeSingel in Antwerp on the 5th of April.

Foto: Lazslo Juhasz

Polychrome Orchestra


Polychrome Orchestra
Pegelia Gold

Pegelia Gold – voice, composition
Marija Kandic – accordeon
Elisabeth Coudoux – cello
Leonhard Huhn – saxophone
Constantin Herzog – doublebass
Daniel Prätzlich – drums, percussion

Founded in 2009 by Swedish composer Henrik Ajax von Pegelia Goldhas, the Polychrome Orchestra performed works of Oxana Omelchuk, Henrik Ajax, Sebastian Dumetrescu and Gustav Mahler  among others as part of the debut performance of “Genschelsongs”. The musicians work on the intersection between classical and new music, jazz and pop/rock. Advanced techniques of playing and a love for experimentation enable the integration of contemporary notions of sound into a popular context and thus create an astonishing tonal depth.

The current program includes songs by singer and composer Pegelia Gold on the album ”Echospheres”, which was released in February 2018 via Unit Records.

 

Electrified Island


Electrified Island
Thea Soti

Thea Soti  – voice, composition, superintendent
Taya Chernyshova – voice
Mascha Corman  – voice
Rebekka Ziegler – voice
Leonhard Huhn – saxophone
Moritz Wesp – trombone
Elisabeth Coudoux – cello
Sebastian Scobel – piano, keys
Stefan Schönegg – doublebass
Anthony Greminger – drums

Avantgarde songs for 4 voices and an orchestra

A new-age vocalist that has been working at the threshold of contemporary music, creative jazz, performance art and improvisation for years, enacting odd sound experiments with a human voice. Conventional song structures are deconstructed by abstraction of sound and text and are redefined by elements of live electronics, improvisation and extended techniques of play. With words and sounds, with melodies and noise, with dissonance and harmony. Her surreal poetry is courageous, contemporary and very personal. Music that is about an illusion of the human islands, an imaginary and newly-found home in the middle of the sea with self-built bridges.

 

Kindly supported by Jazzverband Baden-Württemberg and sponsor of the Hochschule für Musik und Tanz Köln. Our performers wear handmade clothes of the Cologne based design label “Zitat”.

Foto: Andre Syman

Peter Evans Köln Quartett


Peter Evans Köln Quartett

Peter Evans – trumpet
Sabine Akiko Ahrendt – violin
Florian Zwissler – synthesizer
Elisabeth Coudoux – cello

The initiative Zeitinsel:Residency enabled the first meeting in Cologne on the 27th of November 2017 with Peter Evans at the Loft.

The next concert will take place at the Cathedral in Moscow on the 3rd of November 2018: http://dom.com.ru/events/4149/

Foto: Svetlana Selezneva

Kathrin Pechlov &Strings


Kathrin Pechlov Trio
plus Strings

Kathrin Pechlov – harp, compositon
Christian Weidner – saxophon, composition
Robert Landfermann – doublebass

Biliana Voutchkova – violin
Vincent Royer – viola
Elisabeth Coudoux – cello
Dieter Manderscheid – doublebass

The Harp player Kathrin Pechlof with her Septett at the concert “Jazz in der Alten Oper Frankfurt”.

21.04.2018

by Stefan Michalzik

A prominent example of the use of the harp in jazz exists with the figure of Alice Coltrane in the 60s. In this respect the harp has been made accessible as an instrument of improvisational music in the history of jazz. For some time however, this was of no consequences. An earnest tradition has not emerged from it.

Kathrin Pechlof is outstanding among female musicians that have recently refined the instrument in the context of a distinct voice and which move along the line of contemporary music and jazz.   Her debut album “Imaginarium” released five years ago triggered some attention. No less fascinating is the new album “Toward the Unknown”, which was also recorded with the long-standing trio around alto saxophonist Christian Weidner and bassist Robert Landfermann. Now the Munich-native (1978) had a guest appearance at the specialized series of  “Jazz im Mozart-Saal” hosted by the Alte Oper in Frankfurt, which is supervised by music journalist Hans-Jürgen Linke. Aside her trio, it was performed by a septet as well as the four string player Biliana Voutchkova, violin; Vincent Royer, viola; Elisabeth Coudoux, cello and the bassist Dieter Manderscheid.

The timbre is dampened. Of course there is a certain coquetry at play during the beginning of each concert when Linke says that this jazz series is never about jazz but in fact about a compositionally fixed chamber music, fueled by the spirit of improvisation; Authors of the pieces are Christian Weidner and Kathrin exercise in roughly equal parts.

The music gets by without a pulse, it is about tonality and occasionally a sentiment of contemplative religious exercise develops. Jimmy Giuffre meets Arvo Pärt. Then again this multifaceted, shimmering music has an elegiac touch of its own. It’s all about beauty in a continuous, but certainly not cheesy way.

In this septet each instrumental voice moves free of hierarchies. Virtuosity is the main thing that is not at stake here. Everybody may appear as a soloist once in a while, but nobody is particularly exposed not even Kathrin Pechlof. The primacy of form applies. However, an impression of an all to cool meticulous calculation is by no means present. Against the background of free tonality, there are references to Western European classical music traditions in the form of a contemporary free-spirited adaptation. The main  progressive thought is that of broadening the horizon. The impression is a deep one.

Stefan Michalzik About the author’s profile

http://www.fr.de/kultur/musik/jazz-im-mozart-saal-vielgestaltig-schillernd-a-1490810

Foto: Jason Seizer

IMPAKT


IMPAKT e.V.

Nathan Bontrager – Cello
Stefan Schönegg – Bass
Etienne Nillesen – extended Snare
Salim Javaid – Saxophon
Marlies Debacker – Klavier
Leonhard Huhn – Saxophon
Constantin Herzog – Bass
Angelika Sheridan – Flöten
Philip Zoubek – Klavier
Florian Zwissler – Synthesizer
Nicola Hein – Gitarre
Elisabeth Coudoux – Cello

IMPAKT ist
ein KOLLEKTIV junger MusikerInnen aus Köln, deren Schnittmenge die frei improvisierte Musik ist. Musik, die aus der stilistischen und klanglichen Vielfalt der heutigen Zeit erwächst; Musik, die sich in einem spontanen und konstruktiven Umgang miteinander widerspiegelt. Dem Zuhörer eröffnen sich musikalische Momente, in denen die Persönlichkeiten der Musiker, ihre Ideen und Klangvisionen durchscheinen.

IMPAKT organisiert
IMPAKT X KING GEORG – Konzertreihe in der Kölner Klubbar King Georg
IMPAKT : KONTRAST – Konzertreihe im Stadtgarten Köln

IMPAKT betreibt
NEWSLETTER und VeranstaltungsKALENDER mit aktuellen Konzertterminen für improvisierte Musik in Köln
IMPAKT Records – Internetlabel der IMPAKT Mitglieder

Foto: Johan Coudoux