Joe Rosenberg Ensemble
Rituals and Legends – Quark Records QR0201522
Joe Rosenberg (ss), Daniel Erdmann (ss-ts), Stephane Payen (as),
Olivier Py (bs), Antonin-Tri Hoang (as), Robin Fincker (ts)
Bruno Angelini (p), Arnault Cuisinier (b), Edward Perraud (ds)
IAJRC JOURNAL• Stuart Kremsky • Summer 2016
On their ravishing new release Rituals and Legends, the Joe Rosenberg Ensemble plays original compositions inspired by the music of India, Africa, and Indonesia. Rosenberg is a world traveler who studies different music wherever he goes. The soprano saxophone specialist makes creative and boldly imaginative use of his source material, essentially reinventing traditional songs like the Burundian greeting that underlies Akazehe or the Balinese monkey chant that informs Kecak for robust and expansive treatment by this saxophone heavy group.
Opening is the meditative Ramkali, derived from a piece by Hindustani vocal master Pandit Bhimsen Joshi, and played by a quintet with Rosenberg and Daniel Erdmann on tenor and soprano in the front line. The understated and immensely supportive rhythm section consists of Bruno Angelini on piano, Arnault Cuisinier on bass, and frequent Rosenberg collaborator Edward Perraud on drums. Stéphane Payen joins in on alto for Akazehe, Olivier Py on baritone makes it a septet for Teen Taal, and the unit is at maximum strength as a nonet on Kecak with the addition of altoist Antonin-Tri Hoang and tenor saxist Robin Fincker. The first half of Kecak is devoted to a sparkling piano solo by Angelini, with the final few minutes reserved for the luscious intertwinement of six carefully arranged saxophones.
Among the solo passages, Rosenberg’s lengthy spot on Ramkali is deft and exploratory and Stéphane Payen contributes a beautifully nuanced alto solo on Akazehe. The arrangements balance the solo work with the lovingly blended layers of reeds and a lush atmosphere ensues. In lieu of liner notes, Rosenberg provides quotations that reflect on the music. “Tradition is not necessarily a prison,” said the visionary pianist Cecil Taylor, and Rituals and Legends proves that observation in high style. Recommended.
L.A. JAZZ SCENE • Scott Yanow • March 2016
A top soprano-saxophonist who has often been associated with avantgarde jazz, Joe Rosenberg alternates between living in Paris and Indonesia. His playing and writing are open to the influences of music from many countries. Rituals And Legends is a particularly intriguing release. Rosenberg is joined by French musicians including a rhythm section led by pianist Bruno Angelini, Daniel Erdmann on tenor and soprano, and three guest saxophonists.
The four pieces plus an alternate take are inspired by an Indian raga, a Burundian greeting, a tabla duet, and a Balinese chant. However each of those inspirations are turned into adventurous jazz, and while having their free moments, they utilize melodies and rhythms in creative ways. “Ramkali” opens the program with a brooding melody and the emphasis on slow long tones before the first solo emerges after 6 ½ minutes. Angelini’s piano solo fits the mood and both Rosenberg and Erdmann take individual improvisations on sopranos. “Akazehe” is a rhythmic excursion in which Rosenberg, Erdmann and altoist Stephane Payen stretch out and play off of the rhythms.
“Teen Taal,” although based on Indian classical music, sometimes sounds like a piece that Lennie Tristano could have written or Ornette Coleman might have played. The four saxophonists (which also include baritonist Olivier Py) blend together very well, have an unaccompanied section, and improvise over the driving rhythm section. “Kecak” has a drone theme and some eerie long tones by all of the saxophonists with tenor-saxophonist Robin Fincker making the group a nonet. Rituals and Legends concludes with the alternate version of “Ramkali” which is more concise than the opening performance.
This is fascinating and thought-provoking music, available from Quark Records.fr, that is well worth a close listen.
SALT PEANUTS • Eyal Harauveni •February 2016
Sax player Joe Rosenberg is a musical nomad. He splits his time between his homes in Paris, France and Bali, Indonesia, well-versed in the legacy free jazz forms on both sides of the Atlantic, as well as in traditional-classical Hindustani, Balinese and African musical schools. All are explored in his new album, “Rituals and Legends”.
This album feature Rosenberg, playing soprano sax, leading a group of French musicians, a core quintet of tenor and soprano sax player Daniel Erdmann and the rhythm section that accompanied Rosenberg on his «Resolution» album (Quark, 2014) – pianist Bruno Angelini, bass player Arnault Cuisinier and drummer Edward Perraud. This quintet is augmented by four sax players on different compositions.
“Rituals and Legends” offer four original compositions, all are abstractions-transformations of classical musical forms from India, Burundi and Bali, but following Cecil Taylor remark that «tradition is not necessarily a prison». The first one is «Ramkali», later revised also in an alternate version, titled after a gentle morning Indian raga and adopted from the devotional performance of the late vocal master Bhimsen Gururaj Joshi. The quintet plays it in a peaceful and reverent manner as jazz ballad, highlighted by a moving lyrical solo of Rosenberg that captures the meditative essence of this raga. The second piece, «Akazehe», based on a Burundian greeting gesture, is a rhythmic piece. The piano of Angelini leads a simple dance form and the soprano sax of Rosenberg, the tenor sax of Erdeman and the alto sax of Stéphane Payen serve as a choir that answer and elaborate on Angelini dance moves.
The most impressive piece is the arrangement of the classical Indian rhythmic cycle, «Teen Taal», based on 16 beats and known as the king of taal-s (rhythms), the most common rhythm used in classical Indian music. Rosenberg arranged the virtuoso tabla duel of father and son, masters Ustad Alla Rakha and Zakir Hussain, for a sax quartet – himself and Erdman play the Rakha part and baritone sax player Olivier Py and alto sax player Stéphane Payen play the Hussain part, all transforming it into a playful, Bebopish swinging duel. The fourth piece «Kecak» is based on a form of of Balinese dramatic dance, usually performed by men. Now the Ensemble is expanded to a choir of six sax player with the addition of alto sax player Anotnin-Tri Hoang and tenor sax player Robin Fincker, all exploring patiently the gentle gamelan moves through an emphatic improvised interplay.
Impressive compositions that reaffirm the inclusive, open essence of jazz as an art that keeps developing.
ALL ABOUT JAZZ • Alberto Bazzurro •February 2016
Il bostoniano Joe Rosenberg, sessant'anni compiuti da poco, è uno dei tutto sommati non numerosi specialisti (monogami) del sax soprano. Ha studiato (strumento e composizione) con Joe Viola, Buddy Collette e John Carter, per mettersi in proprio con convinzione a partire dai primi anni Novanta, incidendo fra l'altro con l'avvento del nuovo millennio alcuni apprezzati album per la Black Saint.
Lo ritroviamo oggi alla testa di un sostanzioso ensemble (quintetto di base, che però si allarga fino a nonetto, con la bellezza di sei sassofoni totali) lungo cinque ampi brani (dagli otto ai venti minuti), in qualche modo incorniciati dall'avvio (lento, quasi minimale, quindi allungato su diversi minuti) dell'iniziale "Ramkali" (notare i titoli, tutti di forte connotazione ancestrale), che poi si ravviva a intermittenza, e dalla sua ripresa in chiusura di album, di un'abbastanza insistita staticità, evidentemente paradigmatica.
In mezzo si accendono umori generalmente più vivi (non dimentichiamo che i sassofoni aggiunti, da uno a quattro, si concentrano tutti nel trittico di brani centrali), da "Akazehe," a tratti persino solare (sempre col soprano del leader al centro delle operazioni), a "Teen Taal," appannaggio di un settetto di belle geometrie, scattanti quanto sufficientemente fluide da far venire in mente Tristano, fino a "Kecak," unico episodio (peraltro di un quarto d'ora) in nonetto che parte quieto per poi incamminarsi, sotto la spinta del piano, su un riff piuttosto martellante che vede poi l'ingresso del resto della pattuglia, e successivi saliscendi, a determinare un'articolazione di tracciati molto dinamica.
Un disco per palati fini, quindi, non troppo avventuroso ma neppure mai asservito a un fin troppo diffuso déjà écouté.
The Bostonian Joe Rosenberg, just turned sixty years old, all added up is one of the not many monogamous specialists of the soprano sax. He studied (instrument and composition) with Joe Viola, Buddy Collette and John Carter, to pull from his own convictions since the early nineties, affecting among other things, with the advent of the new millennium, several appreciated albums for Black Saint.
He can be found today at the head of a substantial ensemble (the starting lineup of a quintet, that widens to a nonet with the beauty of six total saxophones) along five broad tracks (eight to twenty minutes). Notice the titles, all with strong ancestral connotations, framed somehow with the initial "Ramkali" ( slow, almost minimal, then stretched to several minutes) and its reprise at the close of album which come alive intermittently, with a fairly persistent static, obviously paradigmatic.
Amid generally light more alive moods (not to forget that the added saxophones, from one to four, are concentrated in the central triptych of songs), from "Akazehe," to even solar features (always with the leader’s soprano at the center of operations ), to "Teen Taal," the prerogative of a beautifully geometric septet, sufficiently fluid as to come up with the mindset of Tristano, up to "Kecak," a unique episode (which is a quarter of an hour) in nonet that starts quietly and then sets off, at the urging of the plan, on rather pounding riffs which then sees the entrance of the rest of the patrol, and with successive ups and downs, determines an articulation of very dynamic tracks.
A disc for gourmets, therefore, not too adventurous but never ever subservient to an all too widespread déjà écouté.
CITIZEN JAZZ • Olivier Acosta • Janvier 2016
Le remarquable travail effectué par Joe Rosenberg depuis de nombreuses années n’est malheureusement pas porté aux oreilles de tous, et il apparaîtra à tous ceux qui se pencheront sur ses réalisations que sa faible exposition est tout à fait dommageable. Profitons donc de la sortie d’un nouveau et magnifique disque du saxophoniste pour rappeler qu’il est vivement recommandé de découvrir sa musique.
Lui, à propos, semble mû par une insatiable curiosité, ou, pour être plus précis, un ardent désir de faire se rencontrer les musiques. Son précédent et magnifique album Resolution avait pour ambition de faire cohabiter au sein d’une sorte de longue suite, où primaient tour à tour la mise en place pointilleuse d’ambiances travaillées et la beauté brute du geste musical spontané, trois compositions issues d’univers très différents. « Fratres » d’Arvo Pärt donnait lieu à un enivrant concerto pour batterie, « Blue Jay Way » de George Harrison voyait son thème décliné sur des tempi et atmosphères différents, et « Resolution », le premier mouvement de A Love Supreme, était interprété de manière alanguie, mais à l’intérieur d’un écrin rythmique puissant, comme si cette incantation, avant de devenir transe, ne devait être qu’une prière. Qu’elles évoquent la sacralité, la mystique ou la foi, les trois compositions choisies étaient empreintes de spiritualité et reliées entre elles par des compositions instantanées tirant parti des talents d’improvisateurs des membres du groupe. Musiciens que l’on retrouve, du moins pour le socle rythmique, sur le présent disque.
Cette fois, ce ne sont pas trois compositions qui servent d’axe central, mais deux continents. De la même manière que l’intention était sur Resolution de dresser des ponts entre des styles, il s’agit cette fois de « traiter » des cultures musicales hétérogènes de manière cohérente, en leur assignant l’idiome jazz comme dénominateur commun. Il a de fait cherché, et réussi, à extraire l’essence de musiques en provenance d’Inde, de Bali ou du Burundi et de les adapter au langage qu’il partage avec son ensemble.
Peu de pièces mais de longs développements dans ce disque où les musiciens bénéficient de beaucoup d’espace. A commencer par le trio « rythmique », en constante conversation et qui joue magnifiquement avec le silence. Edward Perraud et Arnault Cuisinier entretiennent une pulsation sur le fil, avec beaucoup de liberté, et peuvent en quelques secondes passer de l’euphorie au minimal, avec un propos d’une égale richesse. Ce terrain mouvant, instable et fragile est un terreau idéal à l’épanouissement du jeu de Bruno Angelini, toujours inspiré sur ces aires où il peut laisser libre court à ses phrases cristallines et à ses subtils mouvements harmoniques. L’entente des trois relève de la télépathie, et si chacun délivre une impressionnante somme de gestes individuels, le trio se meut tel un félin, avec une démarche lente et majestueuse dont on sait qu’elle peut à tout moment se transformer en course effrénée. Parfois le félin se tapit, attend son moment, puis surgit toutes griffes dehors. Ses accélérations sont mesurées, utiles. Il impressionne autant par sa grâce que par sa fougue.
Et puis il y a les saxophones. Celui de Rosenberg, bien sûr, soprano au son plein et chaleureux, au phrasé précis. Ceux de Daniel Erdmann, toujours passionnant et charismatique dans son habileté pour enflammer la musique et y ménager d’inattendues variations. Il y a le saxophone alto de Stéphane Payen qui s’offre un embrasement sur « Akazehe », puis qui se mêle au baryton d’Olivier Py sur « Teen Tal », une pièce indienne inspirée par un duo de tablas entre Alla Rakha et Zakir Hussain. Les saxophones sont de plus en plus nombreux à mesure que le disque avance. Joe Rosenberg a été jusqu’à réunir un sextet de saxophones en ajoutant Antonin-Tri Hoang et Robin Fincker sur « Kecak », adaptation d’un chant balinais. Loin d’aboutir à une démonstration de force, cette configuration inhabituelle favorise le travail sur la matière, notamment durant l’introduction du morceau, puis, par le biais d’une écriture ciselée, permet une mise en place pointue basée sur la complémentarité de motifs. Le sextet devient à lui seul une machine puissante productrice de rythme qui libère du champ au trio socle.
Toutes les qualités intrinsèques de la musique de cette formation à géométrie variable (sens de l’écoute et de la préservation du silence, diversité des couleurs harmoniques, beauté des sonorités, justesse du placement, soin porté à l’écriture, interprétation au cordeau…) sont amplifiées par la cohérence du répertoire et par l’intelligence avec laquelle les musiques traditionnelles sont intégrées. Leur fondements sont présents mais leurs caractéristiques formelles ont été gommées, car il n’aurait été ni pertinent ni respectueux de les singer. Joe Rosenberg n’a pas cherché à superposer deux formes et à rogner l’une et l’autre pour qu’elles s’ajustent. Au contraire, son intention a manifestement été de trouver des contours nouveaux afin de préserver l’essence de la tradition et de l’ouvrir à l’improvisation. Le résultat est époustouflant. Profond, original, et hypnotique, Rituals And Legends est une petite merveille qu’on ne saura trop vous recommander d’écouter avec l’attention qu’elle mérite.
The remarkable work of Joe Rosenberg, since many years, is unfortunately not carried in the ears of all, and it will appear to all who will discuss his achievements that his low exposure is quite damaging. So take advantage of the release of a new and beautiful disc from the saxophonist to remember that it is strongly recommended to discover his music.
He, by the way, seems driven by an insatiable curiosity, or, to be more precise, a burning desire to bring together different musics. His ambition for his previous album, the gorgeous Resolution, was to join in a sort of long series where precisely crafted ambiences prevailed alternately with the raw beauty of spontaneous musical gesture, three compositions from very different worlds. "Fratres" by Arvo Pärt gave rise to an exhilirating drum concerto, "Blue Jay Way" by George Harrison saw his theme decline on tempi and different atmospheres, and "Resolution", the first movement from A Love Supreme, was interpreted in a languorous way, but within a powerful rhythmic setting, as if this incantation, before becoming a trance, began as a prayer. Whether they evoke sacredness, mysticism or faith, the three chosen compositions exuded spirituality and were connected by instant compositions drawing on the improvising talents of the group’s musicians. Musicians that are found, at least for the rhythmic base, on this disc.
This time it is not three compositions that serve as a central axis, but two continents. In the same way that the intention of Resolution was to draw on bridges between styles, it is this time to "treat" disparate musical cultures consistently, by assigning the jazz idiom as a common denominator. He has tried, and indeed succeeded, to extract the essence of music from India, Bali and Burundi and to adapt them to the language he shares with his ensmble.
There are few pieces on this disc, but long developments, where the musicians have plenty of space. Starting with the rhythm section, constantly talking and playing beautifully with silence. Edward Perraud and Arnault Cuisinier maintain a pulse on the wire, with a lot of freedom, and can switch in seconds from euphoria to the minimum, with about equal richness. This shifting, unstable and fragile terrain is an ideal ground for the development of the playing of Bruno Angelini, always inspired in those areas where it can give free rein to his crystalline phrases and his subtle harmonic movements. The interplay of these three speaks of telepathy, and if each delivers an impressive sum of individual actions, the trio moves like a cat, with a slow and majestic gait which we know can at any moment turn into a frantic race. Sometimes the cat crouches, waiting his moment, then claws pop. Acceleration is measured, helpful. He impresses as much by his grace as by his enthusiasm.
And then there are the saxophones. One by Rosenberg, of course, a soprano of fullness and warmth with precise phrasing. Those of Daniel Erdmann, always exciting and charismatic in his ability to ignite and house music of unexpected variations. There’s also the alto saxophone of Stéphane Payen who offers a conflagration on "Akazehe" then the mingling baritone of Olivier Py on "Teen Tal", a piece inspired by an Indian tabla duo between Alla Rakha and Zakir Hussain. The saxophones are more and more numerous as the disc goes forward. Joe Rosenberg was to bring together a saxophone sextet on "Kecak", an adaptation of a Balinese chant, adding Antonin-Tri Hoang and Robin Fincker. Far from reaching a demonstration of force, this unusual configuration promotes the work on the matter, notably during the introduction of the song, and then, through a chiseled writing, enables a sharp implementation based on the complementarity of motifs. The sextet is in itself a machine producing a powerful pace that frees space for the rhtyhm section.
All the intrinsic qualities of the music of this formation of variable geometry (ability to listen and preservation of silence, diversity of harmonic colors, beauty of sound, accuracy of placement, care given to writing, precise interpretation ... ) are amplified by the consistency of the repertoire and the intelligence with which traditional musics are integrated. Their foundations are present but their formal characteristics were erased because it was neither relevant nor respectful to mimic them. Joe Rosenberg did not attempt to superimpose two forms, and crop one to another for them to fit. Rather, his intent was clearly to find new contours to preserve the essence of tradition and open it up to improvisation. The result is breathtaking. Deep, original and hypnotic, Rituals and Legends is a marvel that we cannot overly recommend to listen to with the attention it deserves.
CADENCE MAGAZINE • Robert Rusch • January 2016
JOE ROSENBERG [ss] has produced RITUALS AND LEGENDS [Quark QR201522] a set of 5 originals [68:23] from 12/14 and is backed by his ensemble of 4 to 8 additional players [the core of the ensemble are Arnault Cuisinier-b, Bruno Angelini-p, Daniel Erdmann-ts/ss, and Edward Perraud drm]. Rosenberg is the most featured player but the other main feature here are the compositions which are a series of medium moving pieces that employ shifting tempos and varying emotional dynamics along with repetitive lines. The screams here are hardly louder than a whisper or normal squeak but it is all very effective and excellently delivered (those familiar with Mother Mallard may be familiar with the repetitive technique employed, though here improvisation is a greater factor). Other pieces here employ dreamy wanderings but with a sense of tension just below the surface. In all a very effective release which held my attention with repeated listenings. Music with a touch of Gil Evans.
FREISTIL • Bertl Grisser • January 2016
Auf seiner neuesten Produktion lässt sich der polyglotte Sopransaxofonist und Komponist Joe Rosenberg, im bis zu neunköpfigen Ensemble, ausgiebigst von Musik asisatischer und afrikanischer Herkunft, zwischen Bali, Indien und Burundi, inspirieren. Diese Einflüsse finden Eingang in eine, von einem gewissen spirituellen Unterton geprägte, zeitgenössische Jazzsprache, die bei aller Könnerschaft doch ab und zu ein wenig in Richtung yesteryear verweist.
Kompositorisches und Arrangiertes reichen von komplex, kontrapunktisch verzahnten Ensemblepassagen bis hin zu ziemlich Schlichtem. Bis zu sechs Saxofone sind über der, von Schlagzeuger Perrault, Bassist Cuisinier und Pianist Abgelini zum Teil äußerst raffiniert aufbereiteten Basis, zu hören. Die solistischen Beiträge stehen einheitlich auf sehr hohem Niveau und bergen immer wieder Interessantes, wirken aber zumeist auch sehr kontrolliert. Hervorragend ist im übrigen die Tonqualität dieser Aufnahme. Etwas mehr Spannung könnte dem Ganzen aber sicher nicht schaden. Hm, ein wenig ambivalent.
In his latest production, the polyglot soprano saxophonist and composer Joe Rosenberg, in up to a nine-piece ensemble, can be inspired with music extensively from Asian and African origins, between Bali, India and Burundi. These influences are incorporated into, by a certain embossed spiritual undertone, a contemporary jazz language that with all mastery sometimes refers a little in the direction of yesteryear.
Compositions and arrangements range from complex to quite slick contrapuntal toothed ensemble passages. Up to six saxophones can be heard in some highly refined processes based on the drummer Perrault, bassist Cuisinier and pianist Angelini. The solo contributions are uniformly at a very high level, and always hold interest, however for the most part appear very controlled. Also the sound quality of this recording is excellent. A little more tension could surely not hurt but, Hm, a little ambivalent.
JAZZ’N’MORE MAGAZINE • Jürg Solothurnmann• January 2016
”Tradition is not necessarily a prison” – diesen Ausspruch Cecil Taylors stellt Joe Rosenberg seiner neuen Musik voran. In Bali ansässig, pendelt der heute 60-jährige Sopransaxophonist seit 1995 zwischen dem Fernen Osten, Frankreich und den USA hin und her. Seine Pariser Formation ist ein Quintett u.a. mit dem originellen Klangmaler Edward Perrault. Die fünf längeren Stücke von ”Rituals and Legends” fussen auf Erfahrungen mit Tonalem und Free-Jazz-Kontakten, mit Klängen und Mentalitäten des Ostens und Afrikas. Je nach Stück wirken zusätzlich vier junge Saxophonisten mit.
”Ramkail” (in zwei unterschiedlichen Versionen) ist inspiriert vom hindustanischen Khyal-Sänger Bhimsen Joshi. Die lange Melodie, die fast die Hälfte der 20 Minuten einnimmt, wird nicht ganz kongruent von zwei Sopranosaxophonen gespielt. Drei- und mehrteilig verschränkt sich in den anderen Stücken Komponiertes und Improvisiertes. Lebhaft wird's im burundischen Begrüssungslied ”Akazehe”, in dem sich polyrhythmisch pentatonische Figuren überlagern. Darüber bläst Rosenberg sein tonal offenes Solo, das anschliessend über drei Stadien von Stèphane Payen (as), Erdmann (ts) und dem Kollektiv erweitert, transformiert und verdichtet wird.
”Teen Tal” ehrt die Tablavirtuosen Allah Rakha und Zakir Hussain. Ein Wirbel von schnellen Tonfiguren, die sich in verschiedenen Tempi umspielen, überlagern und teilweise jazzig grooven. Inspiriert vom balinesischen dramatischen Tanzdrama ”Kecak” (mit der Hoquetus-Imitation des Affengeschnatters und mit Gamelan-Tonalität) durchläuft Rosenbergs vierte Komposition mehrere Phasen mit Wechseln der Gangart, Tonalität und Farben. Eine ungewöhnliche, aber doch nie fremd klingende Produktion.
"Tradition Is not Necessarily a prison" - this Cecil Taylor quotation is presented ahead of Joe Rosenberg new music. Based in Bali, the now 60-year-old soprano saxophonist commutes back and forth since 1995 between the Far East, France and the US,. His Paris formation is among other things a quintet with the original sound painter Edward Perraud. The five long pieces of "Rituals and Legends" are based on his experiences and contact with tonal and free-jazz, with sounds and mentalities of the East and Africa. In addition, depending on the piece of work, with four young saxophonists.
"Ramkail" (in two different versions) is inspired by the Hindustani Khayal singer Bhimsen Joshi. The long melody, which occupies almost half of the 20 minutes, is played by two soprano saxophones, although not entirely congruently. In the other pieces the composition and the improvisation interweave in two parts and more. Lively is the Burundian welcoming song "Akazehe" in which polyrhythmic pentatonic figures superimposed. On top of it Rosenberg blows his tonally open solo, which extends then over three stages with Stéphane Payen (AS), Daniel Erdmann (ts) and the collective, is transformed and compressed.
"Teen Tal" honors the tabla virtuosos Allah Rakha and Zakir Hussain. A flurry of quick clay figurines that play around in different tempos, and superimpose a partial jazz groove. Inspired by the dramatic Balinese dance drama "Kecak" (with the chattering of a monkey hord and with gamelan tonality) Rosenberg's fourth composition passes through several phases with changes of pace, tone and color. An unusual, but never foreign-sounding production.
JAZZ MAGAZINE • Pascal Rozat • December 2015
Nouveauté. En étirant sur six longues minutes l'énoncé a deux sopranos du thème inaugural Ramkali – le morceau en durera vingt au total - Joe Rosenberg prend d'emblée le parti de nous faire entrer dans une autre temporalité, comme on le ressent souvent à l’ecoute de la musique hindoustani, dont plusieurs compositions de l’album s’inspirent librement: comme une méditation musicale au bord de l'immobilité, amenant l’attention à se focaliser sur les mouvements les plus infimes.
Et si le tempo s'accélère sensiblement par la suite, sous l’effet de rythmes venus du Burundi ou de Bali, les développements continueront de s’inscrire dans une durée qui fait fi des règles du prêt-à-écouter. Pour habiter ce temps long, le leader s’est entouré d’une rythmique en apesanteur, merveilleuse de poésie et de précision, ainsi que de de quelques-uns des meilleurs saxophonists de la scène française actuelle, mariant leurs voix dans des configurations allant du quintette au nonette.
On se plaît à suivre leurs chants comme on s’engagerait dans un parcours initiatique, chemin ouvert aux seuls auditeurs qui accepteront de s’arracher à leur rythme quotidian.
New Things. Stretching over a six minute long statement by two sopranos, the inaugural theme Ramkali - the song will last twenty in total -, Joe Rosenberg immediately makes the choice to lead us into another temporality, as is often felt listening to Hindustani music, including several compositions from the album that are freely inspired: like a musical meditation on the edge of stillness, bringing attention to focus on the smallest movements.
And when the tempo significantly accelerates thereafter, under the effect of rhythms from Burundi or Bali, developments continue to be part of a timeline that ignores the rules of the ready-to-listen. To inhabit this long spans of time, the leader has surrounded himself with a rhythmic weightlessness, wonderful poetry and precision, as well as some of the best saxophonists of the current French scene, blending their voices in configurations ranging from quintet to nonet.
One likes to follow their songs like they would engage in a journey of initiation, a path only open to listeners who are willing to break away from their daily rhythm.
CONCERTO MAGAZINE • Martin Schuster • December 2015
Das erste Stück dieser CD wirkt wie eine Zen-Meditation, wie eine 20-minütige Übung in Langsamkeit und Enthaltsamkeit. Die Musik, die der in Frankreich lebende amerikanische Sopransaxofonist Joe Rosenberg macht, lebt von Konzentration, zeitweiliger Kargheit und Insistenz. Mit einem Klaviertrio und bis zu fünf weiteren Saxofonisten (unter ihnen der Deutsche Daniel Erdmann) aufgenommen, könnte man „Rituals & Legends“ stilistisch unter „imaginäre Folklore mit hohem Grad an Abstraktion“ einordnen. Die Inspirationen für die weit ausladenden Stücke kommen aus Burundi, Indien oder Bali. Eine CD für HörerInnen mit offenen Ohren, ganz im Sinn des im Booklet abgedruckten Zitats von Yogi Berra: „Es ist erst vorbei, wenn es vorbei ist.“
The first piece of this CD is like a Zen meditation, as a 20-minute exercise in slowness and abstinence. The music that comes alive in France, by American soprano saxophonist Joe Rosenberg, has power from concentration, temporary barrenness and insistence. Recorded by a piano trio and up to five other saxophonists (among them the German Daniel Erdmann), "Rituals & Legends" could be stylistically classified under "imaginary folklore with a high degree of abstraction". The inspiration for the wide overhanging pieces comes from Burundi, India and Bali. A CD for listeners with open ears, entirely in keeping with the quote from Yogi Berra printed in the booklet: "It is not over until it's over."
JAZZ PODIUM • Benno Bartsch • December 2015
Der aus Boston stammende Sopransaxophonist und Komponist Joe Rosenberg widmete sich in den 90er Jahren dem Werk von Ornette Coleman und Eric Dolphy und nahm für die Labels Music & Arts und Black Saint auf. Mitte der 90er Jahre zog er zunächst nach Hongkong, später nach Bali. Seither versucht er, Anregungen, die er von der asiatischen und der afrikanischen Musik empfangen hat, in den Jazz zu integrieren. Seine Aufnahmeaktivitäten hat er nach Europa verlagert. Im Mini-label Quark Records seines bevorzugten Schlagzeugers Edward Perraud sind drei Aufnahmen erschienen, die vielleicht zum Feinsten gehören, was Avantgarde-Jazz derzeit zu bieten hat.
“Resolution” ist eine 2013 entstandene Aufnahme mit seinem französischen Ensemble, dem nebst Edward Perraud der Cellist Didier Petit, der Bassist Arnault Cuisinier und der italienische Pianist Bruno Angelini angehören. Das Programm beginnt mit einer dreiteiligen afrikanischen Suite, die sehr behäbig und unaufgeregt voranschreitet. Danach eine Reihe von freien Improvisationen, die von erstaunlichem Unterhaltungswert sind, weil sie, so scheint es, alle Tabus der freien Improvisation durchbrechen. Da gibt es formale Entwicklungen mit wechselnden Instrumentalkonstellationen, die offenbar auf vorgefertigten Konzepten basieren, es gibt retardierende Momente, insistierende oder vertiefende Wiederholungen, rhetorische Formeln eines musikalischen Diskurses oder von Erzählungen, da gibt es keine Angst vor der Langsamkeit oder dem temporären Stillstand. Die beiden Höhepunkte der CD sind allerdings Fremd-Kompositionen: zum einen das mysteriöse „Blue Jay Way“ von George Harrison, das 1967 auf der Beatles-LP „Magical Mystery Tours“ erschienen war, zum andren John Coltranes „Resolution“, dem zweiten Teil seiner Suite „A Love Supreme“ – beide waren übrigens wie Joe Rosenberg stark an indischer Musik interessiert. Besonders in „Blue Jay Way“ kommt das Ensemble in seinen Improvisationen zu völlig ungeahnten, eigentlich abwegigen Ergebnissen, aber das Spannende gerade an diesem Stück ist die innere Logik des Prozesses, der zu diesen Ergebnissen führt.
“Rouge et Blanc” enthält Duoimprovisationen mit Frédéric Blondy, dem französischen Spezialisten für das präparierte Klavier, der hier allerdings seine Präparationen nicht als bloße Verfremdungseffekte, sondern zur Erweiterung der klanglichen Möglichkeiten und zur perkussiven Akzentuierung einsetzt. Der gemeinsame Nenner der 6 Stücke dieser CD ist ihre eigentlich minimalistische Anlage, denn Ausgangspunkte der Improvisation sind manchmal nur kleinste Partikel ohne jegliche melodische Qualität, ein paar Töne, die die Grundstimmung festlegen und manchmal nur im Abstand eines Vierteltons voneinander entfernt liegen. Aus ihnen heraus öffnet das Duo völlig unaufgeregt riesige musikalische Räume, indem es mit Geduld und langem Atem das musikalische Material sukzessiv erweitert. Das Zauberwort für diese Musik heißt Kontemplation. Ein Beispiel hierfür ist das längste Stück der CD, das geheimnisvolle „Vermillion Smoike“ mit Piano-erzeugten Klängen eines Gamelan-Orchesters, das eine schlüssige und niemals nervige Emanzipation von Klang und Melos vorführt.
Ganz andere Wege geht Rosenberg auf “Rituals and Legends”, der aktuellsten und vielleicht auch schönsten Aufnahme dieses CD-Trios. Hier integriert er am konsequentesten die Einflüsse der afrikanischen und der indischen Musik. Das Ergebnis ist aber kein weltmusikalisches Patchwork und kommt auch ganz ohne Tempelglöckchenattitüden aus, sondern stellt lediglich die Übertragung asiatischer Musizierpraktiken auf den Jazz dar, der reiner Jazz bleibt – wie auch weiland Coltranes „India“ reiner Jazz war. Der kongenial agierende Tenorsaxophonist Daniel Erdmann ersetzt auf dieser Aufnahme den Cellisten Didier Petit und bildet manchmal mit seinen drängenden Improvisationen den Gegenpol zu Rosenbergs gelassener, tiefenentspannter Spielweise. Dazu kommen noch vier weitere Holzbläser, die von Fall zu Fall, je nach musikalischen Erfordernissen, hinzutreten. Den Rahmen aller Stücke bilden oft modale Kompositionen mit scharf umrissenen rhythmischen Kon- zepten, die auf herkömmlichen Formen des Jazz basieren. Die meisten sind langsame Stücke, entschleunigt und meditativ im Sinne einer kontemplativen Vertiefung in das musikalische Material. Das 20-minütige „Ramkali“ gibt Raum für ausführliche Improvisationen, die, gerade weil sie niemals zu dick auftragen und ohne exaltierte Expressivität auskommen, an keiner Stelle langweilig werden und die durch ihre formale Strukturierung sehr eigenständige und originelle Resultate zeitigen. Das afrikanisch anmutende „Akazehe“ geht von einfachsten harmonischen Verhältnissen aus. Hier tritt Erdmann besonders deutlich als Kontrapart Rosenbergs auf. „Teen Taal“ bildet einen Kontrapunkt, weil es mit einem rasanten, irgendwie durchgeknallten Bebop-Thema daherkommt. Ingesamt zeigen diese großartigen CDs besonders deutlich, wie eine undogmatische Haltung den Unterhaltungswert der Avantgarde enorm steigern kann. Der CD-Spieler des Rezensenten wird sich an ihnen heißlaufen.
Originally from Boston, soprano saxophonist and composer Joe Rosenberg devoted himself in the 90s to the work of Ornette Coleman and Eric Dolphy, and recorded for the labels Music & Arts and Black Saint. In the mid-90s he first moved to Hong Kong and then to Bali. Since then he has tried to incorporate influences that he has received from Asian and African music into jazz. He has shifted his recording activities to Europe on mini-label Quark Records, and with his preferred drummer Edward Perraud, has released three recordings that perhaps include the finest of what avant-garde jazz currently has to offer.
"Resolution" is a 2013 recording with his French ensemble, which includes besides Edward Perraud, cellist Didier Petit, bassist Arnault Cuisinier and the Italian pianist Bruno Angelini. The program begins with a three-part African Suite, which progresses very sedately and calm. Thereafter, a series of free improvisations which are of astonishing entertainment value because they, it seems, break all taboos of free improvisation. Since there are formal developments with changing instrumental constellations which appear to be based on prefabricated concepts, there are insistent retarding moments or deep repetitions, rhetorical formulas of a musical discourse or of narratives, as there is no fear of slowness or a temporary halt. However, the two highlights of the CD are foreign compositions: on the one hand the mysterious "Blue Jay Way" by George Harrison, which in 1967 appeared on the Beatles album "Magical Mystery Tours" and on the other hand, John Coltrane's "Resolution", the second part of his suite "A Love Supreme" - both of who were incidentally, like Joe Rosenberg, greatly interested in Indian music. Especially in "Blue Jay Way" the ensemble comes to its improvisations in completely unexpected, actually absurd results, but so exciting just to this piece, is the inner logic of the process that leads to these results.
"Rouge Et Blanc" includes duo improvisations with Frédéric Blondy, the French specialist for prepared piano, but employing here his preparations rather than mere alienation effects, but to expand the sonic possibilities and percussive accents. The common denominator of the six pieces of this CD is its really minimalist system, because the starting points for the improvisations are sometimes only the smallest particles without any melodic quality, a few notes that define the mood and sometimes are away from each other only at a distance of a quartertone. Out of them the duo opens huge completely unagitated musical spaces by expanding the musical material successively, with patience and staying power. The magic word for this music is called contemplation. An example of this is the longest piece on the CD, the mysterious "Vermillion Smoke" with piano-generated sounds of a gamelan orchestra, showing off a positive and never annoying emancipation of sound and melody.
A completely different way goes Rosenberg’s "Rituals and Legends", the latest and perhaps most beautiful recording of this CD-trio. Here he integrates the most consistent influences of African and Indian music. But the result is not a world music patchwork, and also does not need any temple bell attitudes, but merely the transfer of Asian music making, and the jazz represented remains pure jazz - like Coltrane's "India" was pure jazz. The congenial and active saxophonist Daniel Erdmann on Tenor replaces the cellist Didier Petit on this recording, and sometimes together his improvisations press the counterpoint to Rosenberg's more relaxed, deeply relaxed, playing style. In addition there are four other woodwinds, which draw near from case to case, depending on the musical requirements. The framework of all of these pieces often form modal compositions with clear-cut rhythmic concepts that are based on traditional forms of jazz. Most are slow pieces, decelerating and meditative in the sense of a contemplative deepening in the musical material. The 20-minute "Ramkali" gives space for detailed improvisations that, precisely because they are never applied too thick and do without exalted expressivity, at no point become tedious. Through time their very independent and formal structuring produces original results. The African sounding "Akazehe" starts from the simplest harmonic ratios. Here Erdmann is especially noticeable on a counterpoint part of Rosenberg’s. "Teen Taal" forms a counterpoint, because it comes along with a fast-paced, somewhat loopy bebop theme. Altogether, these great CDs make especially clear how an undogmatic attitude can enormously increase the entertainment value of the avant-garde. The CD players of the reviewers will become overheated.
