Stockhausen / Snétberger / Andersen / Héral «Joyosa»

Posted on jul 7, 2004 in Co-Leader, Discography | 0 comments

Markus Stockhausen, trumpet, flugelhorn – Ferenc Snétberger, classical guitar – Arild Andersen, bass – Patrice Héral, drums, percussion. In 1997 Markus Stockhausen and Arild Andersen started to work as a duo. A year later, they went on as a trio with Patrice Héral. In 1999 Ferenc Snétberger and Markus Stockhausen also formed a duo that was successfully presented on the album «For My People». Later Ferenc also played duo concerts with Patrice in Hungary. Because of the friendly connections between all of them, these four musicians decided to found a quartet in 2002 which is now introduced on «Joyosa». Each of the musicians involved writes pieces for this collective group that has no...

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Stockhausen / Andersen / Rypdal / Héral «Karta»

Posted on jul 5, 2000 in Co-Leader, Discography | 0 comments

Markus Stockhausen, Arild Andersen, Terje Rypdal and Patrice Héral. «Karta» is a Sanskrit word meaning «higher power». For Markus Stockhausen, in the present context, it signals a music greater than the sum of its parts: «The outcome of this recording took us all by surprise,» he says. The participants had never previously played as a quartet, yet some of them share a lot of history. In the case of Arild Andersen and Terje Rypdal, that history goes back more than 30 years. Other inter-relationships are of more recent vintage… In 1996, German trumpeter Markus Stockhausen and Norwegian bassist Arild Andersen were individually invited to Athens to work with three Greek composers – Minas Alexiadis, Vassilis Tsabropoulos and Vangelis Katsoulis. From this encounter, two fixed trios have evolved: Andersen’s trio with Tsabrobopoulos and John Marshall, recently heard on «Achirana» (ECM 1728) and the trio Andersen/Stockhausen/Héral, joined on their first recording by guest Terje Rypdal. On that first Athenian meeting, Stockhausen and Andersen played in an ensemble with six Greek players. They were promptly invited back to tour and record with Vangelis Katsoulis (a composer whose background is in theatre and film music) and the interest generated by this visit prompted yet a third Greek tour. «By this time,» Stockhausen notes, «Arild and I knew each other pretty well, and decided we should work together more often. We felt we had a lot in common – including the fact that we were both members of an extended ECM family.» In 1997 they began to play duo concerts. In March 1998, Markus Stockhausen found French drummer/percussionist Patrice Héral while playing a session with Moroccan Sufi singer/oud player Dhafar Youssef , and knew at once this was a musician who’d work well in a trio setting. Arild Andersen: «Patrice joined us on a gig and the music worked immediately. I hear Patrice as a European equivalent to Nana (Vasconcelos) in a lot of ways. A similar openness and curiosity, a capacity as both a percussionist and a drummer, a strong sense for unorthodox grooves and also a personality that’s refreshingly easy to get along with.» Stockhausen/Andersen/Héral has been a working unit since April 1998. (For a brief, experimental period, Austrian guitarist Martin Sievert was a fourth member of the band.) At the suggestion of producer Manfred Eicher, Terje Rypdal was added to the trio for its debut ECM recording. The musical results convinced all participants of the value of doing work together so, henceforth, Rypdal will be a guest with the trio whenever his own crowded schedule permits. (Some concerts with this augmented line-up have been scheduled for Fall 2000). Although Andersen and Rypdal were of course charter members of Jan Garbarek’s «Afric Pepperbird» quartet and though the bassist played on Terje’s ECM debut album in 1970, they’ve played together only infrequently since then. Rypdal worked for a period – not documented on record – with Andersen’s band Masqualero after Jon Balke left the group, and in the 80s both Arild and Terje were reunited in one of George Russell’s Nordic line-ups, but for the most part these pioneers of Norwegian jazz have gone their own ways in recent decades. So there was a measure of creative tension, «positive tension» Markus Stockhausen calls it, prior to the session in Oslo’s Rainbow Studio. Stockhausen: «We came with material prepared that Arild and I had written and ended up using very little of it. At the start of the session I said, ‘Before we begin working on pieces, let’s just play’ and that’s what we did. We improvised for one and a half hours straight,...

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