WESTZEIT – Fred Lonberg-Holm/Simon Camatta DUO & Handsome Couple

Wunderbar frei agieren Fred Lonberg-Holm und Simon Camatta auf crazy notions. FLH lässt sein Cello klagen, krächzen und schreien, wozu Camatta mit gewohnter Klasse sein drum-set traktiert. Das klappert und scheppert, es riecht nach Krach und ist doch wohlorganisiert.

…Man kennt kennt Simon Camatta eher als ImpoJazz Trommler, wenn er aber im HANDSOME COUPLE seine Sticks zu St.Kirchhoffs Banjo wirbeln lässt, dann entsteht aus instrumentaler Beschränkung grandiose Musik. Die CD bietet 10 Stücke lang großen HörSpass für alle, denen Country zu langweilig ist. „Instrumentale Hip-Hop Musik“ in der richtigen Mischung von Kreativität und Kaputtheit.

die neue promorutsche

ein feedback zur letzten Verschickungsaktion – – ein Einblick in die reale Welt…?

jazzword – The Wisseltangcamatta – indes

The Wisseltangcamatta

Umland Records 11

Even more assured the second time around, Wisseltangcamatta, the Köln-based trio with the unwieldy name, has elaborated an accomplished strategy for polished, minimal improvisation which works for each member and Indes, its second CD, shows it off to best advantage.

Just because the playing is accomplished and subdued doesn’t mean that robust feeling isn’t communicated during the six selections though. Each player has extensive experience in this genre, alto saxophonist/clarinetist Georg Wissel with the likes of Paul Lytton and Joker Nies for instance; percussionist Simon Camatta with The Dorf orchestra and smaller groupings; and bassist Achim Tang with just about everyone from Jon Irabagon to Philip Zoubek.

Although the program begins quietly with tolling pulses and appropriately concludes with proportionately measured squeaks, peeps and clatters, the pivotal point about this session lies in tracing how each individual symbolically paints sound colors so that they blend sfmuato-like into a sonic canvas. Beginning with “Indes 2”, Camatta’s rubs and rattles shadow Wissel as he uses his prepared saxophone to liberate novel patterns from within his reed and metal functions. Meanwhile Tang’s aggrandizing ostinato provides the steadying bottom.

Eventually as the narrative circles back onto itself, reed tone retches, cymbal clatter and string spiccato fuse into a flat-line narrative. While the exposition on subsequent tracks made be tougher and thicker and escalate to more pronounced and excited sequences, another notable improvisation occurs on “Indes 4”, with instances of Wissel’s idiosyncratic clarinet styling. Despite Tang’s sul ponticello slides and Camatta’s shuddering rolls and pops almost limiting the triple interaction to stasis, Wissel moving his timbral showcase from moderato contralto to speedy, squeaky upsurges, awakening the other to output more unconventional vibrations, leading to a climax that`s pounding, pulsating and palatable.

Masters of saying more with less and portraying ideas at a low volume, this CD by the members of Wisseltangcamatta is worth investigating to see how they communicate their view of the (musical) world. As good as the session is however, a new band name could help create wider recognition for its work though.

—Kern Waxman

Track Listing: Indes: 1. Indes1 2. Indes 2 3. Indes 3 4. Indes 4 5. Indes 5 6. Indes 6

Personnel: Indes: Georg Wissel (prepared alto saxophone and clarinet); Achim Tang (bass) and Simon Camatta (drums and percussion)

One review


The Wisseltangcamatta – indes
La particularité du saxophoniste Georg Wissel de Cologne est de jouer du (prepared) alto-sax, et ici de la clarinette. Il fourre une bouteille en plastique ou un emballage plastifié chiffonné dans le pavillon de son saxophone et essaye de souffler, vocaliser, bruisser dans l’anche et la colonne d’air. Assez radical. Il fait cela depuis tellement longtemps que c’est devenu une seconde nature. Le tandem énergétique Achim Tang (contrebasse) et Simon Camatta (batterie) l’emmène dans des improvisations échevelées. Je me serais attendu que Simon prépare sa batterie ou la transforme – à l’instar d’un Paul Lytton avec qui Georg Wissel partage un excellent duo – mais son jeu dynamique, diversifié et sa constante attention font merveille. Quarante-quatre minutes d’intenses explorations dans la géographie du trio enregistrées au légendaire Loft de Cologne le 19 février 2017. Le contrebassiste n’hésite pas à prendre les devant : une séquence où il se lance dans l’exploration boisée des cordes à l’archet est remarquablement secondée par le jeu convulsif des deux autres. Une écoute intense, une énergie jamais prise en défaut, des équilibres instables, des sifflements d’anche curieux, des timbres rares, des atmosphères incertaines comme dans cette deuxième plage bruissante où il devient abscons de vouloir distinguer qui joue quoi tant l’aspect ludique et émotionnel de découvrir des (nouveaux) sons nous font oublier le temps, la vitesse, la limite note/bruit. Georg Wissel joue pourtant les notes (très) aiguës du registre normal de la clarinette sans solliciter une technique alternative. Wissel Tang et Camatta pousse l’esprit de recherche en outrant la norme avec une belle conviction et une réelle connivence. Excellent trio d’improvisation radicale basé sur le triangle sax basse batterie (passe partout) architecture qu’ils transforment déchiquètent, triturent, insaisissables.

immer noch rezensionen zu den „1000 anthems“

1000 [JAN KLARE / BART MARIS / WILBERT DE JOODE / MICHAEL VATCHER] – Anthems to Work on a Good End (Umland Records 0001; Germany)
1000 features Jan Klare on reeds, Bart Maris on trumpet, Wilbert de Joode bass and Michael Vatcher on drums & percussion). This appears tone the fourth disc from 1000, each previous one was on a different label: Leo, Red Toucan and Skycap. This quartet is or was Netherlands-based and includes German saxist Jan Klare (2 CD’s on Leo) and Dutch trumpeter Bart Maris who has worked with two great progressive bands: Univers Zero and Blast. In-demand bassist Wilbert De Joode, has appeared on more than fifty releases throughout his long career. 
   The idea behind this disc is certainly an odd one: most of the 20 pieces are based on the national anthems of Afganistan (7 versions) and Cambodia (5 versions) plus one each by China and Syria. The liner notes go on at length to describe the histories of Cambodia and Afganistan, since have had several anthems due to whomever was in power during different periods. The anthems were selected more for their unique melodies and we researched by members of the quartet. There are also three short group improv found throughout this disc which add a nice balance to the skeletal songlike structures of the varied anthems. The melodies to the Cambodian anthems do have a proud, folky sort of flavor and the quartet do a fine job of adding bits of sly, swagger to certain songs and capturing the rich,yet subtle melodies in a more reverent way, often stripping things down to their bare essentials. The quartet keep things often more calm without pushing things very far out. I love the way Mr. Vatcher uses subtle percussion like shakers or bells just to add minimal seasoning. This allows some of the more ancient (sounding) melodies to ring true. At times poignant and ever-enchanting. Had I not know that the quartet were playing any anthems, I might not have thought this was the case. Either way, the results are still most charming with some unexpected twists and turns. –
Bruce Lee Gallanter, Downtown Music Gallery

ein veritabler Versuch,

die überraschende Wirkung der K7 von Crashing Airplanes visuell greifbar zu machen.