Jazz

Nik Bartsch's Ronin - Holon (2008)

2011-02-11T10:42:04Z

Nik Bartsch's Ronin - Holon (2008)


01. Modul 42		 06:28      play
02. Modul 41_17 	14:51 
03. Modul 39_8	 08:00 
04. Modul 46		 07:16      play
05. Modul 45		 09:41 
06. Modul 44		 09:23

Personnel:
Nik Bartsch: piano; 
Sha: bass clarinets, alto saxophone 
Bjorn Meyer: bass; 
Kaspar Rast: drums 
Andi Pupato: percussion.

Swiss pianist Nik Bärtsch writes, rather defensively, that "an ecstatic groove and an ascetic awareness ... are not mutually exclusive". Perhaps he feels the chilly breath of ECM's free-improv giants on the nape of his neck. The music made by his quintet, Ronin, draws on jazz in its harmonic and timbral density, but at its core is an insistent pulse, with a sound somewhere between Steve Reich and EST. The 15-minute Modul 41_17 demonstrates this well, with repeated piano figures that drill deep into your consciousness. Modul 45 has a jerky catchiness that harks back to Monk. There is nothing earth-shatteringly new here - Man Jumping explored this terrain years ago, while the Portico Quartet are the latest to pick up the gauntlet - but Bärtsch and his crew, including Sha on bass clarinet and alto, play this confection with such elan that it's hard not to be seduced. --John L Walters

While Nik Bärtsch's 2006 ECM debut, Stoa, was a powerful first shot across the international bow, garnering a place on many journalists' "Best of" lists for the year, the Swiss pianist had, in fact, been honing his self- proclaimed "Zen Funk" since the beginning of the decade, starting with the equally descriptive Ritual Groove Music (Ronin Rhythm Records, 2001). Holon capitalizes on the success and innovation of Stoa, again featuring his Ronin quintet, proving the value of ongoing musical partnerships, especially when creating music that's paradoxically as rarified and visceral as Bärtsch's. Plenty has been written about the undeniable influence of minimalism on Bärtsch's writing; so, too, the potent grooves that make his music unfold hypnotically; filled with minute detail that captures the attention while being so trance-inducing that it's equally easy to get lost in the music, only to find it come and gone, seemingly in an instant. With returning clarinetist/saxophonist Sha , bassist Björn Meyer, drummer Kaspar Rast and percussionist Andi Pupato—players who, in some cases date right back to Ritual Groove Music and have worked with Bärtsch for at least the past five years—the overall textures remain the same. Still, Holon finds Sha bringing back his alto saxophone, last heard on Aer (Ronin Rhythm Records, 2004), while Bärtsch stays strictly with acoustic piano, though that does nothing to reduce the sonic breadth as he explores not only the full range of the keyboard, but inside the box as well.

Delineated improvisation is still largely avoided, but equally it remains a component of Bärtsch's music, subsumed in much the same way as Norwegian saxophonist Trygve Seim 's work on the outstanding Sangam (ECM, 2005), although that's about the only comparison that can be drawn between these two very different composers, other than their remarkable sophistication at such relatively young ages. Instead, Bäs quintet move, as the leader himself describes, like "a school of fish moving across a coral reef with lightning speed." The rhythmic and contrapuntal complexity of Bärtsch's "Moduls," a uniform, numbered way of titling his compositions that avoids creating any kind of preconception about the music, belies the way in which the music ebbs and flows in a purely natural and uncannily organic fashion.

Repetition may be a fundamental part of the music, but not in the coldly mathematical fashion of some early minimalism. Instead, there's a direct emotional resonance, as the group winds its way through the largely ethereal "Modul 42," where drums and percussion drop out at the three-minute mark for a delicate piano/clarinet/bass trio, and the longer, more potent "Modul 41_17," where Bärtsch meshes new music with existing repertoire from Live (Ronin Rhythm Records, 2003), and places Meyer in an uncharacteristically forward role before the entire band kicks in with its fiery pulse.

With Holon, Bärtsch and Ronin continue to hone an unmistakable music. Cerebral in conception it may be, but this is music that remains almost Jungian in its near-archetypal physicality. -- John Kelman

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Nik Bärtsch's Ronin - Rea (2004)

2016-04-07T15:54:09Z

Nik Bärtsch's Ronin - Rea (2004)


01. Modul 27 [10:05]
02. Modul 22 [16:37]
03. Modul 18 [6:45]
04. Modul 26 [18:14]
05. Modul 23 [12:31]

Nik Bärtsch - Electric Piano [Fender Rhodes]
Kaspar Rast - Drums
Bjorn Meyer - Bass
Andi Pupato - Percussion
+
Thomy Geiger - Tenor Sax (track: 4)
Michael Gassmann - Trumpet (track: 4)
Sha - Bass Clarinet (tracks: 1, 4)

I aim to review all the Nik Bartsch albums in my possession with the hope of better coming to terms with them (their strengths and weaknesses - moments of brilliance and tediousness) myself.

All his albums have many musical qualities which I feel would appeal to many listeners despite also having uncompromising aspects which might prove infuriating too.

With the progression of the artist and the style, especially notable with the move to ECM, some of the infuriating aspects of the developing but (quite formidably fully formed early on) style are tempered to produce an ever more beautiful and satisfying progression of releases. Still, we are talking about nine releases within a ten year period so that is lots of music and deserves a proper survey. . .

Bartsch's music is generally tightly played, complex, cyclical, minimal and groove-based - and all the pieces are referred to as Moduls.

This particular collection, Rea, often requires (like most extremely minimal music) that the listener suspend normal requirements such as arrangement changes, extended or memorable melodies, chord progressions etc and surrender to the web it weaves and the groove it maintains.

Modul 27 - static 4/4 groove on one spot harmonically with periodic pointilistic cow bell (every 5) and wood block hits overlaying other cycles. Electric piano notes then add another series of cyclic points less simple in their periodicity. Here and there are jazzy electric piano chords. Later sustained bass clarinet sevenths are introduced. A low key and rather unexciting first cut. 2/5

Modul 22 - shakers playing a repeated shuffling 3 beat pattern overlaid with minimal drones (produced by bowed percussion?). Then a 12/8 groove starts up with the shakers continuing across the new texture and with a shifting 4 to 3 focus. A bass guitar solo is added which sounds quite improvised. Suddenly rising chord changes are introduced within the basic texture. Suddenly a bell like sustained texture is introduced and the piece begins to build in drama with new rhythmic elements added and dramatic low register piano interjections. 3/5 for the rather slow-moving early sections of the piece. 4/5 when it gets moving along for its final third.

Modul 18 - a single slowly repeated note. Suddenly this becomes the backdrop to a glacial slowly unfolding ambient moodscape led by the piano playing shifting chords in cycles of 9. Very beautiful, nocturnal and captivating. 4/5

Modul 26 - Slow starting but hypnotic from the outset, soon a fantastic 9 beat groove emerges. This piece most reminds me of the Steve Reich of Music for 18 Musicians. Textural elements come out and then sink beneath the surface texture as they do with the Reich piece and this creates a level of mesmerising interest. Towards the end untuned percussion/drums playing it's beautiful supporting cyclical patterns are left solo to conclude the piece. 4/5

Modul 23 - a 5 beat pattern dominated overlaid with 6 beat and other cycles. It could literally carry on forever like this and you would move into nirvana on the back of the groove. 5/5

Scarcely does one encounter such singlemindedness of vision and intent and Bartsch is undoubtedly a true artist working with a group of impeccable musicians.

My only complaint with this album Rea is that I am not convinced it is necessary to endure so much stasis to be rewarded with the moments of brilliance brought through in this collection and some of the compositions I feel could work across shorter time frames. This album I feel is quite a slow starter in that respect but of course when the musical machines that Bartsch vivifies generate their mesmeric magic there is nothing quite like this music. ---Neil C, amazon.com

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