Translated to “the disappointment”, Die Ettäuschung’s figurative tongue fixes firmly in collective jowl even before the first note sounds. A Berlin-based quartet comprised of Rudi Mahall, Axel Dörner, Jan Roder and Uli Jennessen, the ensemble’s previous work has largely been in a repertory vein, mostly mining the mother Monk lode. Their teaming with Alex von Schlippenbach for Monk’s Casino (also on Intakt) brought such pursuits to full flower. This album, their fourth, marks a redirect to their own compositions though ample amounts of Monk and Ornette are still audible in the corkscrew freebop that springs from their own pens and instruments.
Seventeen cuts on the docket necessitate economical time spans, often not much more than space enough to get in and get out. A tightly whorled head followed by terse overlapping solos and occasional breaks for bass and or drums represent the common schematic, though snatches of calypso (“Drive it Down the Piano”), samba (“Very Goode”), and other folk forms enter the songbook on occasion. Dörner carves modest space for extended techniques, threading in dissonant texture-based detours amidst the more structured playing on pieces like “Vorwärts – Rückwärts”. The fit is ramshackle in spots, but the relative coarseness undercutting some of the charts works to the quartet’s advantage in sustaining improvisatory friction.
Mahall and Dörner make for an uncommonly attuned pairing, particularly in the area of pitch production with the Mahall’’s upper and middle register work on bass clarinet sounding oddly akin to an alto saxophone. Only sparingly does he revel in his reed’s cavernous capabilities and I found myself wanting for more of such ribald manuevers on occasion. Roder and Jenessen are similarly suited to each others sensibilities on the rhythmic side, but the more galvanizing interplay often transpires between the horns. The audio balance also seems to favor the frontline, with Roder sometimes a shade muddy in the mix. Cover art is the same Zappa-esque collage style of Mahall’s earlier solo effort for Psi and a fine complement to the music. If, on the off chance, these four are striving to live up to the strict letter of their chosen sobriquet then it’s safe to say they fail miserably in the enterprise.
~ Derek Taylor
Posted by derek on August 21, 2007 5:27 PMIf I didn't know Mahall played bass clarinet... well, I still wouldn't! Some instrument info would help a lot of these reviews in terms of comprehensibility and googleability.
Posted by: Dolph1 at August 22, 2007 6:43 AMGood point, Dolph1. I figured knowledge of Mahall's axe was a given, but should not assume so. Fixed.
Posted by: derek at August 22, 2007 8:58 AMI almost got this today, but then they had the LP, which I thought I had missed out on.
Posted by: Damon Smith at August 24, 2007 8:38 PMRudi Mahall & Axel Dörner are forming an incredible pair. I don't have yet listened to this. But after having Monk's Casino turning in my I-Pod shuffle during weeks, I am sure this could be well another jewel. Listening also his fantastic solo cd of bass clarinet Psi issued not long time ago : this is the best recording of a bass clarinet solo i have heard and Dolphywise , Rudi is a master . Proof of it is his incredible soloing in the Monk's Casino three cd's box. May I let know about an excellent recording of "free-bop" by intriguing young New Yorkers. "The Language of" is a quartet with Charles Evans, baryton sax & Peter Evans trumpet and piccolo trumpet. No Relation is the title of their GreatBend CD GBCD02. No Relation between these two Evans beside talent and inspiration. The bassist Moppa Elliott and the drummer Jan Roth are doing their job without apparent virtuosity but like everyone in the quartet they work in a special togetherness.
The pieces are entitled : What, Love, How, High, Song , You, Is, .. and sound like curious and clever extrapolations of the standard jazz songbook. The treatment of the sound of the horns is quite "dirty" but they are pretty good at what they do. It is a very special group and the THING is what Peter Evans do in this recording. There is no trumpet player doing what he does and few could match such fire , invention and virtuosity. If there is a new voice on trumpet now , his name is Peter Evans.
Evan Parker issued his solo More is More immediately after having met him once when Peter was a student.
More is More is an incredible departure as a solo trumpet improvisor. As always Dan W made an excellent review of Carnival Skin a excellent Bruce Eisenbeil studio date with Hilliard Greene, Perry Robinson and Klaus Klügel. Peter Evans is now playing in rock clubs and appartment dates in NYC. It is a real shame. He is one of the very best and his The Language Of has an extraordinary air de famille with the spirit of Die Enttauschung ! all best from waterloo belgium
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