Stephan Micus at LJF 2011 ~ Queen Elizabeth Hall /Purcell Room
11 November 2011 / 19:45
Stephan Micus is one of those artists who does not appear on the stage too often. There is a few reasons for that. First ,possibly is just simply lack of time. As opposed to artists who are recording particular projects and then touring with it, Stephan would rather explore the whole music universe ,putting his output on the tape and then trying to find the way to give to overall concept its final shape.Being a perpetual student he also keeps travelling constantly, finding his masters, living with them and deepen the knowledge of new instrument at the same time. It’s good to visit his profile on ECM web .If you have a look at the range of instruments he is performing on it is easy to spot that these all came from all over the world. The origin of them roughly covers Micus’ pilgrimage paths .These include most of Asia, Europe and Africa and both Americas. In this way it is world music in its deepest sense. But on the other hand it is very much him. A quick look at the scores shows that all compositions are by Micus himself. As he claims, he is not after exploring music and then composing in the manner of particular instrument’s performance tradition. Usually he takes instrument out of context and trying to find the way to express himself, push it to sing his own song. Self- expression is a key term, not research solely in the spirit of tradition .What makes it extraordinary is a unique approach, blending exotic sonics with thorough European musical tradition. On the top of it there is a whole philosophical context too, which is a part of the artist’s personality.This is what weighs most here, as he is totally solo performer. All dialogues and interactions between instruments are coursed through him as he is always the only player and human being behind every voice .Then he creates interactions between them, in studio jamming with himself. Such practice forces a very specific performing routine too, when lots of samples have to be prepared beforehand, as he can only operate as a single voice at one time.
This music is difficult to describe, as it is not as if it supposed to be judged by listening. Suggestion of dealing with authentic Oriental ,African, World Folk {you name it} music is strong and hard to avoid. Our knowledge about these cultures is minor, so it is easy to be fooled by what’s coming from associated memories. On the other hand this music is a result of complex studies of different cultures, and even if it is not exploring its backgrounds straight on, it still is a part of them.That is unavoidable and in this part his art dialogues with this heritage, even if he would prefer it not to. This is a natural evolutional process in consequence of which he then became a part of what he was studying. So ,this music is a hybrid.
Another thing is that this music is simply beautiful and it does not matter what we call it.
Being so honest, and coming from such an authentic backgrounds it is obsessively charming and meditative. That is where, in my opinion, the power of his music rests.
According to festival linear notes it was back in 1976 when he had last performed in the UK.
He was then just at the beginning of his long career and constant relationship with the ECM label. A mighty 35 years then. No kidding. Many artists would run lots of different projects during such a long period ,possibly changing style quite a few times, as well as their musical priorities. Micus started affairs with another instruments to make his chorus richer ,but he is still on the same path. This very much his own true way. Today ,when a life passes so quickly and things tend to change so often, this is a unique constancy, and a very specific quality too.Has he got stuck then with his performing manner, just slightly adjusting his voice with every instrumentation change ? Is he a fossil of 70’s back to nature philosophies? Certainly not. His music might be recognisable as being almost the same ,but it’s not. It is only a consequence of his artistic development that may make you believe that.
The best way to show such a contrast is listening to his music in reverse order. Let us begin with the latest one {Bold as Light – 2010} and go back to seventies {Implosions 1977}.
Hardly any of the many artists I deeply respect could handle such a test. Music they have composed was true and a voice of the days it was recorded in, but once time has passed, it is changed and it is not relevant any longer. The music can be beautiful in it’s own right but it is not a carrier of actual ideas, by any means. Nothing like that happened to Stephan. His early recordings still holding the same freshness and a mystery as they always did. Call it mysticism or just a charm, it is up to you. But these are facts. I believe that is because of his firm attitude. He worships the same ideas without change. But they are changing themselves, as time steps forward and feeds back the artist’s meanings .In the circle of life everything must move. Again then what is supposed to be a virtual weakness of his „conversations with myself„ actually become a power. Speak slowly and make no mistake like...
He completes his works gradually. It takes him 2 to 3 years to collect enough material for a record.But this is result of adoption not hesitation. Slow and adorable – deserving devotion for his reason. How was this set, I hear you ask then? Keep reading if you want to know. Special as it was the first time I have heard him playing alive, not listening to the records. It is just I am too young to remember his only, previously mentioned set in UK , but also any other one might bring to mind.
Stage set up was ascetic as it could be expected. Basic two mics to serve different instruments and vocal and a separate channel for an accompaniment. Served from a ... tape recorder ,yes.
No gadgets, samplers, high tech toys or omnipresent famous laptop with an apple facing you. Sort of instruments laying aside, just what is required.
It started with solo piece, performed on Sho - Japanese 'mouth-organ', closing tune on Stephan’s 1986 „Ocean „ recording. It amazed me to hear how rich and full bodied the sound of these tiny reeds can be. I always believed that this particular piece must be one of Stephan’s multitrack achievements,but it is not. That is a pure solo performance, matching exactly what you can hear from your cd. A fugue like piece .Based on burden sound created in cup chest of the instrument. It sounds similar to reeds played with constant breath, and on this background a gentle melodic motive appears. First timidly, then it slightly grows in pitch to create choral melody based on simple folk structure. It is a gently fingered song which slowly takes domination over the base (bass?) to disappear as imperceptibly as it came, after few repetitions. Pure charm. Such a great pleasure to hear it liveand a strong opener as well, leaving audience expectant for more.
Next to come is a song with a company of Bodhran - Irish tambourine drum, 50 centimetres in diameter. Played with a mallet while the other hand produces varying tones by pressing on the drum leather membrane. This song was gentle and melancholic, perfectly matching the mood from the first piece. However the drum was subordinate, leaving whole spaces for the song to build an expression.
Third piece was a solo performance on Nohkan – Japanese traverse bamboo flute used in the Noh theatre, as the artist explained in his announcement. He also mentioned that originally this instrument had only being played with a company of 2 drumsand it was achieved with a tape background played on 2 zithers. A very oriental sounding melody, stretched between rhythmic structure of stringed company with rapidly raising notes, reaching high pitch with a gentle vibrato, unlike conventional flute, which always generate ringing artifacts. The overall sound of this flute is rather juicy and much more meaty than one could expect from such a small size { about 30 cm }.After that Stephan sung a charming tune telling about perfection of the blue sky and white clouds travelling on Tibetan piece of heavens. Song was like a Buddhist mantra – very calm and preparing listener to travel inside his own mind. The following piece, the last before interlude, was performed on Nay, an ancient Egyptian hollow reed flute,as had been told-„the oldest instrument known to human kind and still being in use”.
Once again, with the simple accompanment of 2 guitars on samples prepared on tape, this one had a completely different tune to previously heard Nokhan. A bit more resonant ,but not so meaningful and round. The music reminded me of Arabic melodies which I often hear on African recordings, but they are usually with a company of Kora. But once again with the guitars it was given a completely new life.
After the break the performance resumed with another flute. This time it was Duduk - Armenian double reed instrument made from apricot wood and possessing very distinctive warm tone. It sounded a bit restricted in abilities ,or perhaps the composition made it sound like that. To my ears it was 3/4 dance, Bolero like ,with slow repetitive melody, coming back each time in a slightly different order, but having a charm which was heart catching straight away. I must say that after all it was my favourite piece among those presented, equal in its power to opening solo performed on Sho.
After that one the next wind instrument came. This time it was well recognisable Japanise bamboo flute – Shakuhachi, well known from Tibetan music and used by monks for practising Zen.
The piece was titled „Padre” and it originally appeared on the 2002 cd „Towards the Wind” which I am familiar with. However listening to this on stage was completely different experience. Being close to the mics the flute had more distinctive sound, plus on stage the artist was able to create sounds like sax or clarinet flaps, when touching every of the five flute holes. For this reason it was less meditative than the original recording, but instead more attractive because of counterpointing percussive sounds. „Passing Cloud” from 1996 „Garden of Mirrors” recording was another Shakuhachi based piece,but this time it was coupled with still drum and harp sample.
This piece was set up more in African pentatonic scale and the accompanying rhythm underlined it even more, it just moved us closer to African music. The next piece was performed on Kalimba, a kind of finger harp, made with piece of wood and broken cycle spokes, set up this feeling permanently. It was a part played, part sung composition handling all attributes of African folk and even if ,as we know, it was not – it sounded exactly like it. I admire Micus’ abilities to meld his European roots with exotic ingredients in the way that only really experienced ears may be able to split back and make it so pleasurable to listen to. His multiinstrumental skills are just adorable .One can really feel the charisma and a massive experience and wisdom coming from his position and attitude on the stage. A submission and a deep respect are probably the best words to describe it. It was fantastic performance and I just wish I do not have to wait so long till the next one. The audience rewarded it with careful listening and the applause was fully deserved, and the artist rewarded them with three encores to his listeners, without keeping them waiting.
I hope that this little review, my first for London Jazz Festival, will receive your approval upon reading these words, but also it conveys the feeling of spiritual and artistic quality of this event and encourage music enthusiasts to keep in touch with all the future projects coming from this outstanding personality.
Greg Drygala
Friday 16 December 2011
Berlin Jazz Fest 2011 intro :-)
Berlin JazzFest 2011 – Jazz from Poland!
preface
(based on Berlinerfestspiele press release )
The focus of this year edition was jazz from Poland. That’s why it formally started 15 of October with an opening performance of IRCHA ,the latest output from one of the most dynamic polish jazzman - Mikolaj Trzaska and his Clarinet Quartet. It took place at Martin-Gropius-Bau and was related to the opening of the exhibition titled “Side by Side. Poland –Germany. A 1000 Years of Art. And History”. Next to follow ,a week later ,was an ATOM String Quartet. Another interesting project which came from a young artists ,but took audience by storm with his freshness and vitality. Then as usual the main part of the Fest took place from 2 to 6 November and as always supposed to be long awaited by every jazz lover . A special highpoint of this year’s festival was music from Poland, with appearances by trumpeter Tomasz Stańko, pianist Leszek Możdżer, and many other Polish jazz musicians.
The motto of these projects was to present to the vast audience music of Krzysztof Komeda ,probably the most famous polish jazz composer and a godfather of jazz movement in Poland during a communistic period and after. International encounters represented concerts by Richard Galliano, Joe Sample, Charles Lloyd with Maria Farantouri, Carla Bley with Steve Swallow, and Gregory Porter and Lizz Wright. This year edition brought a lots of changes too. Long time artistic director of the festival – Mr. Nils Landgren had been leading venue last time .Also Henning Wagenbreth –graphic designer and painter responsible for festival image since 2003 finished his significant contribution with 2011 poster.
“ On Sunday, JazzFest Berlin 2011 came to a close with sold-out concerts at the Haus der Berliner Festspiele and in the clubs Quasimodo and A-Trane. Nearly all concerts at this year's festival were sold out – more than 8000 visitors attended 27 events, greeting the performers on stage with unbridled enthusiasm. To summarize: this farewell festival for Artistic Director Nils Landgren was a terrific success: “I am overwhelmed by the positive, even ebullient response on the part of the public. And I want to thank all of the musicians who have appeared at JazzFest Berlin for their marvelous performances. Their music made this festival a huge success. This has been the most wonderful parting gift I could have hoped for! Thank you! It was a joy to shape five editions of JazzFest Berlin. I wish Bert Noglik, my successor as artistic director, the best for the coming years with JazzFest Berlin, and I owe a great debt of gratitude to the festival and to all of its participants.”
Joachim Sartorius, Director of the Berliner Festspiele, also extended his thanks to the public and to the performing artists for this resoundingly successful festival, but in particular to Nils Landgren for the enthusiastically received programmes he assembled for JazzFest Berlin (in 2001 and in 2008-2011). “We knew, all of us, that Nils Landgren is a fantastic trombonist, a passionate musician, and an outstanding singer. But over the last four years, and in 2001, he demonstrated that he is great festival director as well, always close to the people, always taking care of everything. I am very, very pleased with his work – tusen tack!!” These were the words of Joachim Sartorius on Sunday evening during his farewell speech at the Haus der Berliner Festspiele. (from BFS PR)
Once again this year, the concerts of JazzFest Berlin were recorded by ARD radio stations and Deutschlandradio Kultur and in some cases broadcast live. The remaining broadcast dates spread over the year will be publicized by the respective broadcasters.
Besides Haus der Berliner Festspiele, clubs A-Trane and Quasimodo, Hotel Savoy Berlin and Jazz-Institute Berlin’s Georg-Neumann-Saal at Einsteinufer had been the venues for JazzFest Berlin 2011.
Official programm of JazzFest Berlin 2011.
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