Every-time I see Mathias Loibner’s name I am immediately alerted. My admiration for this unpredictable musician is equally strong as my love of his art. It was no difference then when I have seen and heard the new Brot & Sterne formation he is a part of. On top of that, again, being familiar with trumpeter Franz Hauzinger after his duo recording with Derek Bailey and multiple appearances with London Improvisers Orchestra I found myself lost in front of the drummer Peter Rosmanith. Funny enough he seems to be the oldest here being 61 than two other gents ,who are slightly over 50 or a bit before.A challenge like that however always makes me happy.
As all musicians here are well matured then the reminiscence of the title to German meaning of the Autumn word (Herbst) or to its ancient meaning leaning towards the word Harvesting somehow started to swivel inside my head once the music filled it. It is probably Mathias’s hurdy -gurdy part responsibility as this instrument and the way he plays it always draws you back in time, especially if you are familiar with medieval harmonies. Kleines Halali would be the most straight forward example with its Celtic folk like melodic lines.
On the other hand the trumpeter’s approach in this project is strongly supporting that too. He doesn’t overuse electronics more than it is needed playing most of the time beautifully nostalgic plain straight line with a long notes and reduced vibrato. That is what builds a simple beauty of the piece entitled Erlkonig. Marching drum with a deep re-verb is all that is needed to bring you to the tears.
Drummer’s voice is equally meaningful here. Whatever he plays of : Hang, drum kit or different percussion instruments or possibly an objects too, it all comes as a part of the unison either that usual rhythmic approach. Rhythm belongs to the drums of course and it is still present there but here percusionalias are rather playing an equal narrative role instead just counterpointing the framework. You see ? And how to avoid imaginative associations like those I pointed above.
Compositions are utter charming, soaked in emotions and richly illustrative. One of my favourite is a slow burning bolero Da Havara Van Arava composed by the trumpeter. Dancing around it hang and stringy accompaniment from hurdy – gurdy are both making it incredibly emotional.
Charm of hang gets us from the first notes of an opening collective Aufbrechen. It carries on a simple melody in the way that piano would, with both trumpet and h-g weaving a lovely tissue around the rhythmic core, supplying a wonderful drive from the first to the last note. But tit is Rosmanith’s own Schlafmohn which brings a pure beauty of hang into your soul. Matching trumpet lines are making it all angelic and taking everything to the roof.
Following Sissi’s Dream looses his dance character towards more hymnal approach delivered by synthesised trumpet lament. Jungle like percussion accompaniment delivers an incredible sense of space which is additionally enhanced by electronically supplied more ghostly landscapes.
There is even a room for standard too. On that occasion Zawinul’s In a Silent Way. If you are M.Davis fan you will be seriously surprised to hear how the piece opens up here and how it builds. The leitmotif becomes clearly recognisable but the percussive chaos with the trumpet noises are for this creation here like the sea foam for the Venus birth.
That’s how those three reapers are harvesting from their inner fertility using both, their tools and experience for the best.
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