GEORG GRÄWE with MARCIO MATTOS and MICHAEL VATCHER – Subsymbolism (1998)

 

Label: Nuscope Recordings – nuscope CD 1002 

Format: CD, Album; Country: US - Released: 1998 

Style: Free Improvisation, Free Jazz

Recorded in Cologne, Germany on March 15 and 16, 1995 at the LOFT.

Front cover (reproduced above) ceramics by – Marcio Mattos

Producer and Graphic Design by – Russell Summers

Recorded by, Mastered by – Ansgar Ballhorn

Georg Gräwe – Hamburg Steinway D piano

Marcio Mattos – acoustic bass

Michael Vatcher – drums, percussion

"So good to finally see a new American label, run by journalist & friend from Victo fest-Russ Summers, releasing a CD by the cream of European improv-an incredible trio with heavy credentials and the magic to pull it off so successfully. Outstanding pianist-Mr. Graewe has been paving the way for meetings like this to happen by living in Chicago and interacting with its healthy scene for improvisers. His large GrubenKlangOrchestra were a revelation at the old Knit-sitting in a circle in the audience, so the audience felt like it was part of the piece. Bassist-Marcio Mattos-is another contender for free/Euro acoustic storm of sounds, he has played with Evan Parker, Keith Tippett, Elton Dean and Derek Bailey. The ever-marvelous drummer-Michael Vatcher is based in Amsterdam, he has knocked me out on various gigs and recordings-Zorn's Spy Vs. Spy band, the Maarten Altena Ensemble and Tom Cora's The Roof! This is an all powerful improv trio-each one an equal explorer-as secrets unfold- illuminating the depths. Sublime, lines spinning, spilling, slow rocking waves of notes, delicate fragments to vast towers, three masters painting the environment. The crisp and clear recording, as well as the austere grey kettle on the cover, show the release to be well thought out all round. Brilliant playing throughout!"  

–  BLG

Here, we celebrate the first of 2 releases on the newly formed NUSCOPE record label. NUSCOPE records dutifully conveys the flavor of modern improvised jazz with smart packaging, photos of modern artwork gracing the CD inserts and superior audiophile sound quality.

Veteran modern jazz pianist Georg Graewe aligns himself with London based Marcio Mattos (bass) and American drummer Michael Vatcher. “ Subsymbolism ” was originally intended to be a series of Monk interpretations but traversed a different path ultimately evolving into free improvisational performances. Graewe, Mattos and Vatcher have produced a winner! Colorful, spacious, intense and full of depth, Subsymbolism is a mighty foray into modern improvised jazz. “ Region BQ II ” finds Pianist; Graewe experimenting with unconventional phrasing while bassist Mattos compliments with sensational walking bass lines which cover the full spectrum of the instruments capabilities. Here, drummer Vatcher puts on a drum clinic featuring crisp multi-textured snare drum work. Vatcher fluctuates behind his kit, employing rimshots, delicate cymbal work, odd meter rhythms but never deviates from the explosive pulse of Mattos ’ pivotal bass structure. Mattos is the glue that bonds Graewe and Vatcher. Despite the “ free ” motifs, there is a strong suggestion of rhythmic cohesiveness throughout this recording. “ Region BQ II ” serves a s prime example of the group ’ s frequent tempo changes that evolve in a seamless fashion. “ Allures ” teases at first with a few grandiose chords from Graewe but quickly develops into a call and response exercise between the pianist and Vatcher. “ Allures ” evokes images of a lover ’ s quarrel. Vatcher often matches Graewe in a seemingly argumentative dialogue. The pace accelerates into a furious tirade of perpetual motion. “ Stream ” as the title may implicate takes the listener down a winding path that initially reminded this reviewer of Keith Jarrett ’ s acclaimed “ Standards Trio ” ; however, the pianist raises the intensity several notches augmented by a supercharged rhythm section, not to mention an exhilarating polyrhythmic drum solo by Vatcher. “

Subsymbolism ” is an exquisite work that breathes new life into the current state of modern improvised jazz. The tonal quality, performances and top-notch production are superb. A world class effort that challenges perceptions of what jazz should be. Highly Recommended.

_ By GLENN ASTARITA, Published: January 1, 1999 (AAJ)



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GEORG GRÄWE QUARTET – Melodie Und Rhythmus (1997)

 

Label : Okka Disc - OD12024

Produced by: Georg Gräwe; Executive Producer: Bruno Johnson 

Engineer: John McCortney

Format : CD, Album; Recording Date : 1997

Recorded at AirWave Recording Studios, Chicago, IL, May 1997

Style : Free Jazz, Free Improvisation

Cover painting: Ben Portis
Graphic design: Louise Molnar; Inside photo: Bruce Carnevale

Linear Notes:

Georg Gräwe visits Chicago for the first time (1995), performing solo, recording a solo record for OkkaDisk, and collaborating with alto saxist/clarinetist Guillermo Gregorio. Gräwe quickly develops an affinity for the vibrant local scene and the city ’ s jazz and blues heritage. Buys a copy of Magic Sam ’ s West Side Soul (Delmark). Enjoys a Bookers at the Hopleaf. Late that year, he hears a group of Chicago improvisors in Germany at the Moers Festival. Bassist Kent Kessler and drummer Hamid Drake are among the six participants (later known as the Moers Six). At a certain point in three days of ad- hoc groupings, long-standing Gräwe accomplice Frank Gratkowski adds his alto sax and clarinet to the Chicagoans ’ music. The seeds for the group are sown in the ears of the listening pianist. In 1996, Gräwe is deeply impressed by Kessler ’ s playing on Steelwool Trio ’ s International Front (OkkaDisk), and he finally settles on the formation of a quartet, inviting Drake — with whom he had been eager to work since before his first visit to Chicago — and Kessler from the Windy City, and Gratkowski from Köln. Music Minus One: first concert (and studio session) in November of ’ 96, without Drake. Intensive trio interaction, clear connection forged between these three parts — big question-mark how it will work with the master percussionist in the mix. Inspired by the scene, and with a desire to rehearse (and eventually record) his new quartet, in April ’ 97, Gräwe moves to Chicago for the spring and summer. The full group makes its triumphant first appearance in May at the Empty Bottle Festival of Jazz and Improvised Music, in Chicago, then plays again in July at Nickelsdorf Konfrontationen, in Austria. In between these two performances, both spectacularly rich and (for Gräwe followers especially) extremely surprising, the quartet storms the studios and produces the record you now hold in your hands. And as the group presently finishes its first European tour, the story continues...

- John Corbett, Chicago, November 1997

Review:

Melodie und Rhythmus captures the interplay of a fine and charismatic quartet of German and American jazz improvisers. Pianist Georg Gräwe is joined by reeds player Frank Gratkowski from Köln, Germany, and Chicago jazzmen, percussionist Hamid Drake and bassist Kent Kessler, for a recording date that reveals a strong likemindedness and communication between the musicians. The opening piece begins quiet and sparse, with staggered steps of high piano chords and ambient shadings provided by the others. As "Nodality" develops, the space gradually fills in with increased activity. The immediate contrast of a dark piano punctuation starts the next piece, "Imaginary Portrait I," which turns into quick streams of nightclub piano jazz fragments and runs. It's a testament to this group's skill that the fast- paced activity seems effortless, coming off with elegance. The album continues with the hot afternoon bustle of "Passing Scopes," which includes a solo by Gratkowski; the dark and stormy bombardment and impressive whirlwind that is "Trajectory"; "Fringe Factor," with a slowly building clarinet monologue that runs through the center of the quartet's playing, ultimately giving way to a beautiful solo from Gräwe; the more abstracted, single-note rounds of "Multiversum"; and, finally, the more traditional feel of the excellent "Memory of Wings II." The superb playing of drummer Hamid Drake, as well as the strong presence of Kessler's bass throughout this session need mentioning, as does the evocative and tight knit sound of this quartet.

_By Joslyn Layne (AMG)



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