Szerző/Előadó:Hans Lüdemann
 Cím:Die Kunst des Trios 1-5
(P) 2011 
Echo Deutscher Musikpreis - Jazz 2013Jelenleg nem rendelhető!
A speciális CD box Hans Lüdemann kölni koncertsorozatát örökíti meg, amelyet a Loft nevű klubban rögzítettek egy másfél évet átfogó időszakban. A német zongorista az öt lemezen öt különböző ritmusszekcióval hallható, s játéka az egyedi műsoroknak és hangzásvilágoknak köszönhetően szinte mindegyik formációban másként szól...
Text des Beihefts

Notes musicales


die kunst des trios 1 > NU RISM

01. Komm, wir fahr‘n ins Grüne
Robert Landfermann
6:20
02. Lamento
Hans Lüdemann
7:45
03. Uhren
Steve Coleman
4:28
04. Radbaz Prelude
Hans Lüdemann
2:29
05. Radbaz
Andy Laster
5:41
06. Futurism 7, Teil 3 „Leicht, wie im Traum“
Hans Lüdemann
8:41
07. Doublé
Hans Lüdemann
11:33



die kunst des trios 2 > EISLER’S EXIL

01. Der Pflaumenbaum (Hanns Eisler / Berthold Brecht)
- Zu wenig Sonn (Hans Lüdemann)
7:14
02. Das Käuzlein (Hans Lüdemann / Christian Thomé)
- In den Weiden (Hanns Eisler / Berthold Brecht)
5:29
03. In diesen Frühlingsnächten (Hans Lüdemann)
2:46
04. Der Kirschdieb (Hanns Eisler / Berthold Brecht)
- An einem frühen Morgen (Lüdemann / Manderscheid / Thomé)
5:42
05. Der Sohn I (Hanns Eisler / Berthold Brecht)
- Auf der See (Lüdemann / Manderscheid / Thomé)
5:11
06. Speisekammer (Hanns Eisler / Berthold Brecht)
- Schattige Kühle (Lüdemann / Manderscheid / Thomé)
8:05
07. Flüchtend (Lüdemann / Manderscheid / Thomé)
- Schattige Kühle (Hanns Eisler / Berthold Brecht)
6:43
08. Oh Sprengen (Christian Thomé)
2:45
09. Vom Sprengen des Gartens (Hanns Eisler / Berthold Brecht)
- Mehr als genug (Hans Lüdemann)
9:05



die kunst des trios 3 > ROOMS
01. Engel
Hans Lüdemann
3:45
02. Bergen
Sébastien Boisseau
5:13
03. Le Balaphon blanc et noir
Hans Lüdemann
4:03
04. Ballade
Hans Lüdemann
7:54
05. Prinz
Hans Lüdemann
4:39
06. Wanbli
Sébastien Boisseau
6:18
07. Über den Selbstmord (Hanns Eisler / Berthold Brecht)
- Das ist gefährlich (Hans Lüdemann)
10:10
08. Baby
Hans Lüdemann
5:09
09. Jukebox
Dejan Terzic
9:00
10. Ouverture
Lüdemann / Boisseau / Terzic
8:13



die kunst des trios 4 > RHYTHM MAGIC
01. Le Peulh virtuel
Hans Lüdemann
4:37
02. Pedals
Hans Lüdemann
9:09
03. Der weiche Mond
Hans Lüdemann
10:37
04. Le Signal
Hans Lüdemann
4:03
05. Orientierung (Hans Lüdemann)
- & Possible (Geoffroy de Masure)
15:48



die kunst des trios 5 > CHIFFRE
01. Schwarz in Weiss
Hans Lüdemann
7:36
02. Doux
Hans Lüdemann
5:17
03. Chiffre
Eric Schaefer
4:54
04. Steine
Hans Lüdemann
5:19
05. Andromeda
Eric Schaefer
6:42
06. Verloren
Hans Lüdemann
5:53
07. Dechiffre
Eric Schaefer
7:06



XTRA DISC (DVD) > KONCERT VIDEÓK

die kunst des trios 4 > RHYTHM MAGIC
01. Le Peulh virtuel
Hans Lüdemann
4:33
02. Pedals
Hans Lüdemann
9:04
03. Der weiche Mond
Hans Lüdemann
10:33
04. Le Signal
Hans Lüdemann
4:01
05. Orientierung (Hans Lüdemann)
- & Possible (Geoffroy de Masure)
15:33


die kunst des trios 5 > CHIFFRE
06. Schwarz in Weiss
Hans Lüdemann
7:35
07. Doux
Hans Lüdemann
5:16
08. Chiffre
Eric Schaefer
4:53
09. Steine
Hans Lüdemann
5:18
10. Andromeda
Eric Schaefer
6:41
11. Verloren
Hans Lüdemann
5:52
12. Dechiffre
Eric Schaefer
7:06

Összidő: 5:36:14
Előadók

die kunst des trios 1 > NU RISM
Hans Lüdemann - zongora / virtuális zongora
Robert Landfermann - nagybőgő
Jonas Burgwinkel - dob / ütőhangszerek


die kunst des trios 2 > EISLER’S EXIL
Hans Lüdemann - zongora / virtuális zongora
Dieter Manderscheid - nagybőgő
Christian Thomé - dob / ütőhangszerek


die kunst des trios 3 > ROOMS
Hans Lüdemann - zongora / virtuális zongora
Sébastien Boisseau - nagybőgő
Dejan Terzic - dob / ütőhangszerek


die kunst des trios 4 > RHYTHM MAGIC
Hans Lüdemann - zongora / virtuális zongora
Linley Marthe - basszusgitár
Chander Sardjoe - dob


die kunst des trios 5 > CHIFFRE
Hans Lüdemann - zongora / virtuális zongora
Henning Sieverts - nagybőgő/ cselló
Eric Schaefer - dob / ütőhangszerek

Produkciós adatok:

die kunst des trios 1 > NU RISM
Az Uhren Steve Coleman szerzeménye, kiadja a Goemon Publishing Co., GEMA
A Radbaz szerzője Andrew Laster, kiadja a Lasterlight music, BMI
Élő felvétel, LOFT, Köln, 2007 március 22.
Keverés és master: Christian Heck, Tonart Studio, Kerpen 2011. június/július


die kunst des trios 2 > EISLER’S EXIL
Hanns Eisler és Berthold Brecht szerzeményének kiadója a Breitkopf & Härtel/Deutscher Verlag für Musik
Élő felvétel, LOFT, Köln, 2007 június 20.
Keverés és master: Christian Heck, Tonart Studio, Kerpen 2011. június/július


die kunst des trios 3 > ROOMS
A Le Balaphon blanc et noir szerzője Hans Lüdemann, kiadja az Edition Mawi, GEMA
Az Über den Selbstmord Hanns Eisler és Berthold Brecht szerzeménye, kiadja a Breitkopf & Härtel/Deutscher Verlag für Musik
Élő felvétel, LOFT, Köln, 2007 november 20.
Keverés és master: Christian Heck, Tonart Studio, Kerpen 2011. június/július


die kunst des trios 4 > RHYTHM MAGIC
A “Le Signal” szerzője Hans Lüdemann, kiadja az Edition Mawi, GEMA
Élő felvétel, LOFT, Köln, 2008. február 26.
Keverés és master: Christian Heck, Tonart Studio, Kerpen 2011. június/július


die kunst des trios 5 > CHIFFRE
A “Steine” Hans Lüdemann szerzeménye, kiadja az Edition Mawi, GEMA
Élő felvétel, LOFT, Köln, 2008. szeptember 12.
Keverés és master: Christian Heck, Tonart Studio, Kerpen 2011. június/július



Xtra Disc (DVD) > KONCERT VIDEÓK

die kunst des trios 4 > RHYTHM MAGIC
A “Le Signal” szerzője Hans Lüdemann, kiadja az Edition Mawi, GEMA
Élő felvétel, LOFT, Köln, 2008. február 26.
Keverés és master: Christian Heck, Tonart Studio, Kerpen 2011. június/július
Videó: Sasha Kiselkova
Videó szerkesztés: Sebők György


die kunst des trios 5 > CHIFFRE
A “Steine” Hans Lüdemann szerzeménye, kiadja az Edition Mawi, GEMA
Élő felvétel, LOFT, Köln, 2008. szeptember 12.
Keverés és master: Christian Heck, Tonart Studio, Kerpen 2011. június/július
Videó: Sasha Kiselkova
Videó szerkesztés: Sebők György


Az album anyaga az alábbi oldalon digitális formában is megvásárolható:


Dalok.hu Dalok.hu - CD 1 / CD 2 / CD 3 / CD 4 / CD 5

Stuart Nicholson - Jazzwise (en)
Ken Waxman - theWholeNote (en)
Hans-Jürgen von Osterhausen - Jazzzeitung (ger)
Franpi Barriaux - Citizenjazz (fr)
Vincent Cotro - Jazz Magazine / Jazzman (fr)
Ph.E. - Focus Vif (fr)
Odilo Clausnitzer - Deutschlandfunk (ger)
Thierry Giard - Culture Jazz (fr)
Koen Van Meel - Kwadratuur (fl)
Z.K. Slabý - His Voice (cz)
Robert Ratajczak - LongPlay (pl)
Zipernovszky Kornél - Gramofon (hu)
Dr. Gregorits János - JazzMa.hu (hu)
Sinkovics Ferenc - Magyar Hírlap (hu)
Márton Attila - Demokrata (hu)
Czékus Mihály - HFP (hu)

Kattintson a képre a nagyobb felbontásért!A speciális CD box Hans Lüdemann kölni koncertsorozatát örökíti meg, amelyet a Loft nevű klubban rögzítettek egy másfél évet átfogó időszakban. A német zongorista az öt lemezen öt különböző ritmusszekcióval hallható, s játéka az egyedi műsoroknak és hangzásvilágoknak köszönhetően szinte mindegyik formációban másként szól.

Hans Lüdemann partnerei többnyire a német jazz fiatal kiválóságai, a Robert Landfermann (nagybőgő) és Jonas Burgwinkel (dob) párost például az új generáció legjobbjai között emlegetik.

A második CD-n a gyűjtemény egyetlen koncept-albuma hallható, a Hanns Eisler-dalok átdolgozásai két kölni muzsikus, Dieter Manderscheid és Christian Thomé tolmácsolásában szólalnak meg.

Az „európai trióként” aposztrofált harmadik együttest jól ismerheti a hazai jazzközönség is, hiszen Rooms című debütáló albumuk a BMC gondozásában jelent meg, majd ennek lemezbemutató koncertjére került sor a MÜPÁ-ban a Jazzforum Budapest keretében (2010). A francia nagybőgős, Sébastien Boisseau többek között Gadó Gábor és Oláh Kálmán BMC-s kiadványain hallható; a szerb származású, jelenleg Svájcban élő Dejan Terzic pedig például Nils Wogram Nostalgia triójával, illetve mostanában saját, Underground nevű zenekarával turnézik világszerte.

A széles nemzetközi színtéren is magasan jegyzett zenészekkel alkotott negyedik formációban az energetikus, virtuóz játék kerül előtérbe. A francia Linley Marthe (ex-Zawinul Syndicate) basszusgitáron, az utóbbi évtizedben több mint negyven lemezen szereplő holland Chander Sardjoe pedig dobon játszik.

A kiadvány a mücheni Henning Sieverts és a berlini Erik Schaefer alkotta ritmusszekcióval zárul. A kísérletező felfogás, a néha zajos és rockos behatások kontrasztját a csellójáték és az akusztikus hangzású környezet adja.

A gyűjtemény bónusz DVD-jén a negyedik és az ötödik koncert videó-felvételeiből láthatunk részleteket.

A BMC kiadó külön megtiszteltetése, hogy az exkluzív kiadvány az Észak-Rajna–Vesztfália Művészeti Alapítvány jelentős támogatásával jelent meg.

Bognár Tamás


die kunst des trios (the art of the trio)

When you compose a piece of music, each detail is worked out. Each phrase, every chord will be checked over and over, corrected and optimized until everything is perfect.

A process similar to writing this text, re-reading it over and over, correcting it, changing it, letting it rest, going on writing some days later – up to the moment when it finds its final form.

Improvisation works in a different way. Not as the cliché says, as total freedom and spontaneity. A master of improvisation does not only command his instrument but also the musical material. He must have worked and internalized it in a way, such that, in the moment of improvisation, it is at his disposal and enables him, spontaneously and in interplay with his fellow musicians, to make the right musical decisions. The long work and experience that preceeds this stage have been described by Derek Bailey in his book "improvisation" and Paul Berliner in "Jazz".

Although good improvisation requires muscial mastery, it can not reach the degree of perfection of a composition. It is not possible to correct mistakes or misunderstandings afterwards, like the ones that occur in interplay. They belong inevitably to the process of improvisation, no matter how high the level of the improvising musicians is.

In spite of all preparation and work – in the real situation, a good improvisation can never be "pre-composed". Its quality depends on the moment: if there are exceptionally good or surprising ideas, a long and well-built musical development. The musical tension builds on the fact that nobody – even myself as the improvising musician – exactly knows, what will come next.

There are groups in Jazz that have worked intensely on their music and have reached a high degree of perfection and cohesion. Groups like this can still achieve inspired improvisations. But a steady working group also bears the danger of routine, of predictibility, of the establishment and repetition of certain patterns.

After many years of having worked in steady groups – my own TRIO IVOIRE and Angelika Niescier‘s quartet "sublim" – the wish emerged to find space to experiment and search. This wish was nourished by curiousity: for different musical ideas and concepts and other musicians. The focus was to emphasize three aspects which seem to stand out as essentials of Jazz:
- improvisation, meaning the invention and development of musical ideas and forms in the moment of performance. This also means to "play" with the musical material.
- musical communication
Due to the spontaneous character of improvisation, communication exceeds interplay and empathy and comprises (if it is good) the whole repertoire of musical means.
- the individualism of the musicians
more than in any other kind of music, the musician in Jazz is an individualist.

Yes – he or she may or must be. The personal sound makes a musician identifiable, even the way of playing, phrasing and shaping the music should ideally be individual. This is when we get the impression of hearing authentic music, a musician speaking to us through the instrument.

To me, these are the real treasures that Jazz bears, that characterize Jazz, that make it unique – the real "art" of this music and of trio playing in Jazz. These treasures are secrets:
even the best education can not teach us inspiration in the moment, it can not help us to open ourselves in the process of music-making to ourselves and to the others, it can not show us how to discover and raise our own voice.

And there is the danger that these secret treasures will get lost or be forgotten. The weight of Jazz history becomes increasingly heavy.

In its consequence, the mastery of historic styles takes more and more room. This reduces the improvisational freedom and inhibits the evolution of new developments in the music. It goes along with the increasing obligation of perfection. Both developments are opposed to the "secrets", to the nature of Jazz.

In "der kunst des trios" I have consciously choosen to take risk to unfold these secrets and to create situations that, because of their uniqueness and newness would be an ultimate challenge and such create an unusual musical tension.

The conditions were:
- each trio plays its own program which is especially designed for it.
Components are compositions of mine as well as of the musical partners
(the only exception is the 2nd trio with compositons by Hanns Eisler)
- for each trio, there is only one concert after a short time of rehearsal
This means: there is only "one try"!

All recordings of these CDs are "first takes" from the live concerts at the LOFT.
Circumstances and technical conditions are the same for all 5 trios:
The same room, the same piano (Steinway D), the same microphones, drum-set and bass amp, the same sound engineer (Christian Heck). The conditions at the LOFT are extremely good – for both performing and recording. The grand piano of Hans-Martin Müller is kept in best conditon by piano magician Hans Giese.

These prerequisites were set up to inspire the musicians to react spontaneously, to pay attention to each other more than usually and to create a maximum of space for each individual within the group. This meant also to work together with musicians that you did not know before – or to work with musicians that you knew in new constellations and with new material. I am glad and proud that all these wonderful musicians were not only willing to be part of this experiment, but that each of these completely different trios "worked" and achieved musical cohesion and a true group feeling.

The limitation to a fixed instrumentation of piano/bass/drums for all trios – the "classical" Jazz trio, intended to bring out how the individuality, the "personal sound" of each player affects the overall result.

The challenge was not only the unusual combination of musicians but also to master complex composed structures with little time for rehearsal. This is especially true for trios 1, 2 and 5. Instead of working without composed structures, it seemed more interesting to have material that allows for friction and that contributes to form the character of a group or of a concert program. This seemed more attractive than total freedom of improvisation that might lead to random results.

When I speak of "compositions" in the following text, it always means composed themes, forms and structures that serve as the base or frame for improvisation and are linked with it. As a consequence of the abilities and preferences of the musicians, some of the material that was chosen had a high level of difficulty. We discussed the choice of material within each trio and the other musicians contributed compositions of their own. This was to ensure that each musician would be able to contribute, integrate and express himself in the best possible way.

Complexity of composed passages can be found on "Nu RISM" (CD 1) in the pieces "Radbaz" and "Doublé", on "Eisler‘s Exil" with "der Sohn" (CD 2) and on most titles of "Chiffre" (CD5).

On the other hand, there are free and bounded improvisations, partly embedded in the pieces, partly independent of them. There are also scetches that open wide rooms for improvisation. These can be found in all trios, but in this specific selection it is especially evident on CDs 3 and 4.




die kunst des trios 1 > NU RISM
HANS LÜDEMANN
ROBERT LANDFERMANN
JONAS BURGWINKEL
22 March, 2007

The start of "die kunst des trios" made the trio with Robert Landfermann and Jonas Burgwinkel, the youngest rhythm section in this project. Since the date of this concert they have developed from "newcomers" to one of the best German teams. I knew that they would not be afraid of tricky forms, as can be observed in Robert‘s compositions.


Being a trio from Köln, we were able to prepare in advance, which gave us the chance to dare tackling several pieces that are very difficult to play – tunes that I had always wanted to play, but could not due to the lack of the right partners for it, like "Uhren" by Steve Coleman and "Radbaz" of Andy Laster or my own composition "Doublé".

"Uhren" is an old composition of Steve Coleman from the 80s, that I first encountered during my studies at the Banff Centre/Canada, where Dave Holland and Steve were my teachers. At that time, it seemed almost unplayable and showed completely new possibilities of how to deal with rhythm and form in Jazz. The unusual 9/8 rhythm is divided differently from bar to bar, rhythmic variations of the bass figure overlap the metrum.


The soloist must master this tricky rhythmic base in order to be able to improvise over the form of the piece. The piece "Radbaz" is even more complex. It is composed by Andy Laster, whom I consider one of the most original contemporary Jazz composers and who was my roommate in Banff. It consists of continuous changes in metrum, creating the interesting effect that – contrary to conventional jazz tunes – we hear a rhythm section that is constantly in motion and shifting the beats. The improvisation is strictly following the form of the piece. The opening piece "Komm, wir fahr‘n ins Grüne" ("Come on, let‘s go into the woods") by Robert is a theme composed of quarter tones. The quarter tones are realized on the piano with a combination of acoustic and sampled piano sounds – what I call my "virtuelles Klavier – virtual piano". In "Doublé" (French for "doubling" or "deceiving") morphs from a 16/8 into a 15/8 measure create acoustic deceptions. A piece from my "Futurism" – cycle and a new composition, "Lamento", complete the program. Conceptionally, this trio is a continuation of my "RISM"-formations from the 90s, who, based in the Jazz tradition, but open for other influences, placed an emphasis on the rhythmic possibilities of music – therefore the title "Nu RISM".




die kunst des trios 2 > EISLER’S EXIL
HANS LÜDEMANN
DIETER MANDERSCHEID
CHRISTIAN THOMÉ
20 June, 2007

The songs from the "Hollywood songbook" that Hanns Eisler wrote during his Californian exile in the 40s on lyrics by Berthold Brecht are a rich treasure. In their simple beauty and aphoristic shortness, with their musical language that easily combines tonality with the harmonic novelties of Schönberg, with their poetic depth and expressivity, they seem ideal for an improvisational interpretation and variation. Seen from the viewpoint of today they touch on a whole bundle of connotations of the contradictory history of Germany: the cultural drain with the exodus of Jewish artists during the third reich, the paradox that these two communists found asylum in capitalist America (although they later did get in trouble for that in the US), the fact that they would later become cultural representatives of the "communist" DDR (East Germany) and the irony, that in some later works, as established artists, they did not achieve the same level of balance between musical quality and poetic message that their earlier works showed. Also, the ambiguity in the relation Germany – USA is expressed in these songs – something that for us as "German Jazz musicians" is a condition we are constantly confronted with.


This trio presents an idea how a jazz trio could sound that is "German" in the best sense of the word. Today, more than 20 years after the fall of the Berlin wall, Eisler‘s music achieves a new meaning and dimension and offers a rich fundus, musically and in its subtext.

I admire Dieter Manderscheid‘s exquisite sound that he unfolds not only in pizzicato, but also beautifully in arco playing. Drummer Christian Thomé, also equipped with taste and a cultivated sense of sound, ist the ideal match for him. Both musicians are based in Köln.
The difficulty was to transform the originally "classical" gestus of the songs into a Jazz adaption without loosing any of their strengths. It seemed of special importance to bring out their melodic and harmonic colors and elaborate on them.


We used different approaches: In some cases we treated the songs similar to a "Jazz standard" and used their forms and harmonies as a frame for improvisation – such as in "Pflaumenbaum" (plum tree), "Kirschdieb" (cherry thief) and "Vom Sprengen des Gartens" (About the sprinkling of the lawn/About the explosion of the lawn). In other cases, single motifs, elements or atmospheric moments serve as starting points for the improvisations – like the flowing, fleeing sounds in "Radioapparat" (radio), the croaking noises of the "Käuzlein" (owl), or a figure that through repetition becomes an ostinato in "Speisekammer" (pantry).

Some song themes are interpreted close to the original like "der Sohn" (the son), others are loosened and opened up by Jazz rhythm. The improvisations and variations linked to the songs have been given their own titles that each relate to the theme or content of the original.

It is recommended to hear the songs in their original verions with the wonderful lyrics by Brecht, for example the excellent recordings by Matthias Goerne/Eric Schneider.



die kunst des trios 3 > ROOMS
HANS LÜDEMANN
SÉBASTIEN BOISSEAU
DEJAN TERZIC
20 November, 2007

The starting point for this "European" trio was to meet Dejan Terzic, the German drummer with Serbian roots, who‘s playing and sound had struck me. Both of us agreed to start something together and the opportunity arose with this trio series.

Through recommendation (by Hans-Jürgen von Osterhausen) we discoverd French bass player Sébastien Boisseau, which proved to be a lucky choice.


The three musicians of this trio all live in different European countries – Dejan in Switzerland and Sébastien in France. Considering this fact made preparation harder and also taking into account the character of the players – and as a contrast to the two previous trios – I decided to design this trio more openly, with less strict and composed material and greater freedom of improvisation.

The title "rooms" seemed appropriate to describe this conception and was supported by several scetches that served as starting points for improvisations. The two calm compositions by Sébastien, meditations that dive deep into sound, and several calm, balladesque pieces contribute to this overall impression of wide musical spaces. By means of electronic piano samples these can have windows into virtual worlds – as in the opening piano solo "Engel" (angel).

Energetic moments as in Dejan Terzic‘s "Jukebox" and "le Balaphon" are contrasting this impression. One Hanns Eisler composition, "Über den Selbstmord" (on suicide), has found its way into the group‘s repertoire.

From the start, the feeling of this trio was that interplay was effortless and intuitive and communication especially intense – as if we were talking musically with each other.

Overall, there is a wonderful feeling of musical freedom – no matter which material is chosen as a starting point for the music. The strengths of this trio are its emotionality and expressivity, its sensual and homogeneous sound and an openness that allows for surprising turns at any moment. Meanwhile, after an appearance at the Strasbourg festival "Jazz d‘Or" in 2009 and a CD production for BMC Records, the trio has developed into a working band. Video clips of the concert at the Jazzforum Budapest 2010 can be seen on the internet.




die kunst des trios 4 > RHYTHM MAGIC
HANS LÜDEMANN
LINLEY MARTHE
CHANDER SARDJOE
26 February, 2008

Since 2007 I play together with drummer Chander Sardjoe in the TRIO IVOIRE. The beginning of our collaboration coincided with his move from Amsterdam to Paris. There he worked intensely with Linley Marthe who originally comes from Mauritius and is known for his long-term engagement in the group of Joe Zawinul. Chander‘s enthusiasm for Linley inspired my wish to try a trio with the two of them.


It was clear from the start that this trio would have a different musical aesthetic. The rhythmic approach of this trio had not only to do with Jazz but also with pop music and "groove". Our collaboration proved that it is possible to reach a great degree of musical freedom within this context. The short time of preparation was compensated by Linley‘s phenomenal perception that was dumbfounding for me. I rarely have experienced a musician, who understands musical material and context so quickly and completely and can immediately move around in it like a fish in the water.


This trio is characterized by irrepressible energy and boundless joy of playing. The improvisations in this concert were often so overflowing that it would have exceeded the format of a CD to include them in their whole length. In some cases, the pieces are included in excerpts ("Le Peulh" and "le Signal"), others in full length. There is also a humourous side to this trio which shows especially on the excerpts on DVD.

The volume level of the group exceeded by far all other trios – it was said to have been the loudest concert ever at the LOFT. At many points in the concert, it was hard for me to keep up. This resulted in an especially intense way of piano playing, using percussive elements, virtuosity and volume. All three musicians participate equally in this joyful "powerplay" and push each other. Some of the pieces are taken from the repertoire of the TRIO IVOIRE ("le Signal" – the signal – and "der weiche Mond" – the soft moon). One composition, "le Peulh virtuel" (the virtual Peulh) was new and others like the theme of "Orientierung" (orientation) were arranged with new grooves and took some surprising turns spontaneously during the concert.


The presence of many musical colleagues created additional motivation. Musicians from the WDR bigband brought their guest soloist, drummer Dave Weckl. The atmosphere in the LOFT was cooking on this unforgettable evening and became so contagious that after the show, everybody went on to the Art-Theater to all play together on a jam session.




die kunst des trios 5 > CHIFFRE
HANS LÜDEMANN
HENNING SIEVERTS
ERIC SCHAEFER
12 September, 2008

This band could be called an "All German" trio, as it includes musicians from two other big cities and Jazz scenes: bass player Henning Sieverts from München and drummer Eric Schaefer from Berlin. The conception is different from all previous trios and combines elements of new music, Jazz and Rock in an acoustic sound.

In comparison, it could be characterized as the "contemporary conception" that shows less reference to traditions – except for the rocky "Steine".


More than in the other trios, the component of the "virtual piano" has a prominent role – in two compositions with microtonal elements: "Schwarz in Weiss" (black in white) and "Verloren" (lost). In "Schwarz in Weiss", Henning Sieverts dives into the spaces between the half-tones and makes them the center of his improvised solo. What usually would be considered "wrong" or "out of pitch", is in this case right. A more appropriate title might have been "wrong is right". Both pieces were new at that point, as was "Doux" (sweet, soft), a sort of impression from the French provence.

In a special way, the sound of this trio is formed by Henning, who uses a cello in addition to his double bass. Also, the drum sound is expanded through the individual setup and use of different percussion instruments, that Eric adds to his set. The title "chiffre" is the name of one his compositions. It fits well with his music that seems to be constructed from mysterious symbols and short musical events that unfold during the evolution of the piece to form a musical whole. Many of the composed passages are designed like a Classical piece with many nuances in their dynamics and precise articulation.


It surprised me how this trio was able to master a great amount of written material in spite of short rehearsal time – and that this did not seem to diminuish the inspiration and freedom of playing. Regarding the sound, this music has great transparency, clarity and a sense of "order". The economy, the formal cohesion and balance between composed an improvised parts seemed to me especially well achieved in this trio.

As of the 4th trio, there are also video recordings from "die kunst des trios 5" to be found on the DVD. They give an additional impression from the atmosphere at the LOFT and the involvement of the musicians. No videos were made of trios 1 - 3, as in the beginning it was not yet clear that video material would become a more and more important and normal part of music productions. This came to my mind during the course of the series.


At the beginning, I had not intended to release these recordings. It was not clear, if any of these trios would really "work". But each of them proved to be a rich venture during the experience of the concert. This impression was confirmed by the recordings. It became more and more astonishing during the course of the project to experience how a new world opened up with each new trio – something that hardly anybody could have imagined before. Even if one had already been convinced before that the possibilities of improvised music were endless, here it was proved over and over in always different and surprising ways. In the course of "die kunst des trios" a microcosm of sounds unfolded that can be heard as one great "ode to improvised music". The listener participates in the process, the development in the succession of the five trios, and can follow how each individual factor, such as the individually different sound of the double bass, influences all other parameters and the result as a whole. Yes – the pianist also sounds different when playing with a different bass player – musically and soundwise.

The listener has many possibilities: He or she can dive into different worlds, compare, select his or her "favorite tune" and "favorite trio". Or imagine another new trio that does not yet exist.

The series lies some years back. Originally it had the title "3x3 – die Kunst des Trios" with the intention to introduce 9 trios over the period of 3 years. But things often develop differently than we expect. While it was possible to realize 3 concerts in the first year, 2007, the budget in 2008 only allowed to do two trios. In 2009, I was appointed "Cornell Visiting Professor” at Swarthmore College/USA for one year, which brought the project to a halt. It was not until my return in 2010, when I was able to continue the project and work on the recordings.

Now it has become a thick package of 5 trios. The unusual character of the project, the support of the "Kunststiftung NRW" and the Hungarian record label BMC Records, and the encouragement by the musicians motivated me to release these recordings. Now, as the result this box is in your hands containing: a lot of music and some videos, 11 musicians, 5 trios and 3 secrets.


Who knows? – maybe this experiment will be continued.
Because the possibilities of improvised music remain infinite...

Hans Lüdemann
Hoffnungsthal, summer 2011



The photographers:
1. Hyou Vielz
2. Lutz Voigtländer
3. Gerd Weigelt
4. Christine Kaupmann
5. Frank Schulte
6. István Huszti
7. Christine Eme
8. WDR
9. Sasha Kiselkova
10. Hyou Vielz
11. Hyou Vielz


Thanks to:
All musicians involved in the trios,
Steve Coleman, Andrew Laster, Hanns Eisler, Berthold Brecht, Paul Bley

For the CD production:
Kunststiftung NRW, Prof. Dr. Hans-Joachim Wagner, Regina Wyrwoll, Christian Heck, László Gőz, Tamás Bognár, Bálint Szabó, Péter Mári, Ulli Rattay, Jürgen Czisch, Gwenn Puls, Sunka Simon, Peter Baumann, Gábor Bachman and Meral Bachman, Frank Lüdemann, Eric Schneider.

For the concerts:
Hans Martin-Müller, Christian Heck, Hans Giese,
Sasha Kiselkova, Hans-Jürgen von Osterhausen – Jazz am Rhein e.V.
Kulturamt der Stadt Köln
SK Stiftung