Izvajalec: Stauss, Anliker, Kayser, Vogt
Založba: Fazzul Music
Izid: year
Ocena: 4.5/5
Echoes je album, kateremu poveljuje švicarski saksofonist Markus Stauss. Tokrat je njegova zasedba sestavljena iz Staussa na saksofonu, Oliverja Vogta (tudi Spaltklang) na godalih, Pita Kayserja na klaviaturah in Hansa Anlikerja na pozavni.
Ta album pravzaprav ne vsebuje ne vem koliko novega materiala, saj je bila večina kompozicij že izdana na drugih ploščah. Markus Stauss je imel pretkano idejo, da bi predelal nekatere skladbe od Ulterior Lux, skladbe z albuma New Duos and Trios in nekatere pozabljene zamisli. Odločil se je, da bi bilo to zabavno storiti s komorno zasedbo in končni rezultat je ponovno čisto drugačen kot katerikoli drug Staussov album – neverjetno izviren in istočasno briljanten.
Prva kompozicija je že bila izdana na albumu New Duos and Trios, na kateremu je sodeloval tudi Markus Stauss. Bila je napisana v spomin Oskarju Gigerju. To delo pokaže drugo plat Staussovega značaja – manj jazza in več komorne glasbe, z vplivi renesanse in drugih klasičnih elementov. Začne se z blagim klavirjem ter violino in sliši se nenavadno klasično. Ta uvod se kasneje ponovi. Zanimiva je tudi solo točka pozavne, ki takrat zveni kot didžeridu. OG je kar razgibana skladba, čeprav tempo ni ne vem kako hiter.
Looking 4 (že izdana na albumu Ulterior Lux) se prav tako začne klasično in počasi – kar je spet nenavadno. Stauss nam občasno pokaže nekaj svojih sasofonskih sposobnosti, kar ustvarja rahel jazzovski občutek. Sklada potem zaide v blues in potem končno slišimo nekaj tipičnih jazz rockerskih potez na saksofonu in violini. Kompozicija se na koncu spet vrne k bluesu.
Naslovna skladba se začne na zelo avantgarden način – z zabavnim dvobojem med godali in pozavno. Pozavna potem za nekaj časa prevzame glavno vlogo. Preostala zasedba se nato vključi in se vrne k prvotnemu namenu – igranju avantgardne klasične in jazz glasbe. Zaključni del je nekoliko bolj zlovešč, z odličnim igranjem na violini in klaviaturah.
Deep Inside je še ena Ulterior Lux kompozicija, ki je bila predelana. Ta je bila uradno izdana na Adventures. Začne se počasi. Stil je kombinacija jazza in klasike. Stauss je vseskozi odličen s svojim saksofonom. Tudi violinist nam postreže z nekaj izjemnimi deli, medtem ko klaviature ustvarijo primerno temačno ozračje.
Slow Waves ima primeren naslov, ker je tempo res počasen, a to skladbi ne odvzame lepote. Nobeden instrument ne prevladuje, vendar pa sam najbolj uživam v saksofonu in violi. Skladba je v glavnem klasična, a Staussovo igranje ponovno doda jazz priokus.
Pri Another Sad Song je izvirno šlo za sodelovanje med Staussov in kolegom iz Ulterior Lux, Jeanom Chainom. Začne se s prijetno violino in se razvije v lepo komorno delo. A Stauss ne bi bil Stauss, če bi pustil stvari pri miru. V ospredje pride s svojim jazzovskim saksofonom in prekine klasičen tok. A sprememba je dobrodošla! Skladba se potem vrne k izvirnemu namenu, a venomer se čuti, da je Stauss nemiren in se pripravlja na zaključni napad, kar pa se kot po čudežu nikoli ne zgodi. Še eno zanimivo presenečenje!
Zadnja kompozicija je “ukradena” iz še enega Ulterior Lux albuma (Evergreen). Ta izvedba se začne s Staussovim solo uvodom na basovskem saksofonu, potem pa se razvije na bolj klasičen način. Atmosfera je bolj mrka, a gre za morda najlepšo stvaritev na albumu. Vse je popolno – nežen klavir in nežna viola, pozavna v ozadju in občasno stokanje Staussovega saksofona.
Seveda je Echoes čisto drugačna reč kot Staussova druga prizadevanja, a to ne pomeni, da je kaj manj pomembna. Všeč mi je klasičen občutek albuma. To še bolj pokaže globino Staussovega talenta. Glasba je brez bobnov in basa manj dinamična, a je tako lepa, da se od nje ne moreš odtrgati. Tovrstna komorna glasba mi je pisana na kožo. Na trenutke je glasba zelo klasična, a Stauss ne pusti, da bi pozabili na njegove jazz rockerske korenine. On je tisti, ki prispeva največ jazzovskih delov, a mu tudi preostali člani včasih priskočijo na pomoč. Bi lahko rekli, da gre tukaj za poskus jazz glasbenika, da bi ustvaril klasične kompozicije? Kakorkoli že, zmes komorne glasbe, jazza, folka in avantgarde pripomore k temu, da je Stauss ustvaril še eno klasiko.
Težko je izločiti le enga člana zasedbe. Tukaj se zdi, da gre za skupinsko delo. Glasba je precej osredotočena in pretkano skomponirana. Igranje je tokrat bolj strogo in ugibal bi, da so tokrat note igrale bolj pomembno vlogo in da so improvizacije bolj redke. Tukaj se to čudovito izide. Glasba se ne zdi tako tekoča kot Staussovi jazzovski projekti, a to je dobro. Kompozicije so tako močne, da je poslušanje albuma izjemna izkušnja. Glasba je intenzivna, bistroumna, zabavna in muhasta, navkljub pomanjkanju stalnega soliranja.
Echoes je še eden album, ki bi ga moral imeti vsak Staussov entuziast. Res si težko predstavljam, da bi ustavril slab album. Vsak njegov projekt ima nekaj kar te povleče vase in vsak je drugačen. Tako nikoli ne veš kaj lahko pričakuješ in to ponovno dokaže s tem delom. Ta album je morda nekoliko neznan tudi Staussovim oboževalcem, ker je bil zasenčen z njegovim delom v Ulterior Lux, Spaltklang in Trank Zappa Grappa in Varese, a kar se tiče čiste glasbene lepote, je morda to moja najljubša Staussova plošča. Odličen album za poglobitev v lastno dušo.
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Echoes is an album masterminded by Swiss saxophone player Markus Stauss. This time the band is comprised of Stauss on saxophone, Oliver Vogt (also of Spaltklang) on strings, Pit Kayser on keyboards and Hans Anliker on trombone.
This album doesn’t actually contain much new material because most of the compositions were already released on other records. Markus Stauss had the clever idea to rework some pieces of Ulterior Lux, the album New Duos and Trios and some forgotten ideas. He decided it would be fun to try this with a chamber ensemble and the final result is unlike any other Stauss album – again totally original and brilliant at the same time.
The first composition was already heard on the New Duos and Trios album that Markus Stauss took part in. It was written in the memory of Oskar Giger. This piece shows a different side to Stauss – not as jazzy, but more chamber music, with some Renaissance and other classical music elements. It starts with some mellow piano and violin and sounds unusually classical. Later, this intro is repeated. There’s an interesting segment on the trombone, which sounds like a didgeridoo. OG is quite a dynamic piece, even though the tempo isn’t very high.
Looking 4 (already released on an Ulterior Lux album) again starts very classically and slowly – again unusual. Stauss gives us a taste of his saxophone skills here and there, which creates a slightly jazzy feel. The song then veers into blues and then we finally hear some of Stauss’s typical jazz rock stylings on saxophone and violin. The song returns to blues for the final part.
The title piece starts in an avant-garde way, with some fun interplay between the strings and the trombone. The trombone then takes the leading role for a while. The band returns to the scene and returns to the original purpose of playing us some avant-garde classical and jazz music. The final part is a bit more sinister with some fine violin and keyboard work.
Deep Inside is yet another composition taken from Ulterior Lux and reworked. This one was originally released on Adventures. The song starts rather slowly. The style is a combination of jazz and classical. Stauss shines throughout this one with some fine saxophone work. The violin player also offers some great parts, while the keyboards create a fittingly dark atmosphere.
Slow Waves has a fitting title because it is indeed slow, but that doesn’t take away its beauty. No instrument is dominant here, though I do enjoy the viola and saxophone work immensely. The piece is mostly classical in nature, but it is again Stauss’s playing that adds a jazz flavour.
Another Sad Song was originally a collaboration of Stauss and his Ulterior Lux companion Jean Chaine. This starts of with some nice violin work and then turns into a very nice chamber piece. However, Stauss wouldn’t be Stauss if he could let things rest. He comes to the foreground with some jazzy saxophone work and disrupts the classical feel. A welcome change! The piece then returns to its original peaceful intent, but you can feel Markus is already getting restless and is preparing for the final assault, which amazingly never happens. Another interesting surprise!
The final piece is again taken from an Ulterior Lux album (Evergreen). This rendition starts off with Stauss’s solo introduction on bass saxophone, then the piece develops in a more classical way. The mood is very sombre in this version, but this is perhaps the most hauntingly stunning composition on the album. Everything works perfectly – the gentle piano and viola, the backing of the trombone and the occasional moan coming from Stauss’s saxophone.
Naturally, Echoes is a very different project to Stauss’s other endeavours, but that doesn’t mean it’s any less important. I love the classical feel of the album. It just shows an extra depth to Stauss’s talents. The music is less dynamic without the drums and bass, but it is so beautiful that you just can’t tear yourself away from it. I love this kind of chamber music. At moments the music is very classical, but Stauss makes sure we don’t forget his jazz roots. He is the one who plays the most jazz parts, even though the rest of the band does land him a hand occasionally. Could we say that this is a jazz musician’s attempt at classical compositions? Whatever it is, the fusion of chamber music, jazz, folk and avant-garde makes this another classic from Stauss.
It’s difficult for me to single out one member of the group. This seems very much like a team effort. The music is extremely focused and cleverly composed. The playing is stricter this time and I would guess that the note sheets played a more important part, with improvisations happening very rarely. This works fine here. The music doesn’t seem as free-flowing as Stauss’s jazz projects, but again that’s OK. The compositions are just so strong that this makes for a wonderful experience. The music is intense, clever, fun and whimsical even without constant soloing.
Echoes is, therefore, another must buy for all the Stauss enthusiasts. It’s really hard for me to imagine him making a bad album. Each of his projects has something that draws you in and each one is totally different from the other. That’s why you never know what to expect and he proves this yet again with this work. This may have slipped under the radar of even Stauss fans because it is overshadowed by his work in Ulterior Lux, Spaltklang and Trank Zappa Grappa in Varese, but when it comes to sheer musical beauty, this might just be my favourite Stauss release. A great album for self-reflection.
Zasedba
Markus Stauss – saksofoni
Hans Anliker – pozavna
Pit Kayser – klaviature
Oliver Vogt – viola & violina
Produkcija
Markus Stauss
Seznam skladb
1. OG
2. Looking 4
3. Echoes
4. Deep inside
5. Slow Waves
6. Another Sad Song
7. Perpetuum 4
