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Edle Einfalt

Tré

Edle Einfalt

Price: € 8.95
Format: CD
Label: Double Moon Records
UPC: 0608917115123
Catnr: DMCHR 71151
Release date: 20 March 2015
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Label
Double Moon Records
UPC
0608917115123
Catalogue number
DMCHR 71151
Release date
20 March 2015

"Jazzthetik Best Of 2015, Stefan Pieper, Category "Gift recommendation"."

Jazzthetik, 01-1-2016
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Artist(s)
Composer(s)
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About the album

Growing up does not always have to be difficult, especially when someone like Bernhard Bamert is already 44 years "young" or Thomas Lüthi, an experienced 41, or only 32 as is Lukas Mantel. "In the past, we were more involved in apparatus engineering, i.e., we presented very complex pieces. In addition, everything was focused on humor. During our concerts, we wanted above all to play comic-like parts with a strong emphasis on groove. We sometimes just bombarded the audience's ears with our songs. Now we value sound and improvise more," trombonist Bamert described the changed orientation of Tré. This is thanks to the new drummer Mantel, but also to the acquired maturity of the founding members Bamert and Lüthi. Two men in their prime, of whom tenor saxophonist Lüthi also has to fulfill paternal duties and who want to be perceived as virtuoso music clowns instead of simply gaudy and rowdy lads with their fifth album in the meantime. "At some time, you simply get to the point when you are sick and tired of continually being ironic,” Bamert stated resolutely. "Actually, it is a question of the music. I take the fun of the whole thing very seriously in the meantime!"

A song such as "Edle Einfalt" would be very appropriate to stir up associations with Dadaist predecessor works such as "Karpfen in Wilhelmsdorf" or "Aufwind". However, it concerns a lot more than a clever pun for the three-man band, who caused a furor with their debut CD "Fundamental Music" in 2006 as part of the successful "Jazz thing Next Generation" series and recently provided superb entertainment with an animated "Movie-Gipfel-Gig" (trans: Movie Peak Gig) at "Brissago" in 2012. "We want to get back to simplicity," Bernhard Bamert described their playing. To that end, Tré borrowed from the German writer on art Johann Joachim Winkelmann (1717-1768), whose formula "Edle Einfalt und stille Größe" (trans: noble simplicity and quiet proportions) in turn inspired Johann Wolfgang von Goethe. It is a question of the simplicity of the material dealt with: an approach in opposition to the playful and overloaded art of Baroque and Rococo. When Goethe visited Jakob Gujer, who became famous under the name Kleinjogg in the 18th century and who is considered a pioneer of modern agriculture, at his farm in Kratzenrüti near Zurich, he is said to have praised the simplicity of his concept with the term "noble simplicity".

This is precisely the direction in which Tré wants to go: neither overloaded arrangements nor banal or even populist brown-nosing attempts. "Simplicity as a term was considered as extremely positive," Bamert explained. Concentration on the essential and providing simplicity more space again. The trombonist and his buddies sought solid ground in the jungle of contemporary jazz and found it in recalling simple song structures. As starting point, they selected song structures similar to nursery rhymes ("Drumherum", "Dente Caduto", "Ninna nanna" and "Kneipe"), folk-like melodies such as the title song "Nur" and "Tänzchen", prism-like conglomerates from Italian, Spanish, Jewish and Turkish set pieces such as "Canto" by Orchestre Goldberg, which caused a furor in Constantinopel at the beginning of the 20th century, "Árpád Jean-Gaspard Dschingis", "Comme Les Chiens" or "Anatol" as well as free improvisations ("Elf" and "Kommod"). Even classical jazz appears lean and ascetic in the new Tré outfit ("Milbe").

This is how it sounds when puberty is over for once and for all, and Bernhard Bamert, Lukas Mantel and Thomas Lüthi do not want to rest on the laurels of their "Sturm-und-Drangzeit" (storm and stress years) either. A listening experience to be taken seriously, but which is very entertaining and even turns into pure enjoyment now and then. Just a genuine Tré disk.
Erwachsenwerden muss nicht immer schwer sein. Vor allem, wenn man wie Bernhard Bamert schon 44 Jahre „jung“ ist, oder wie Thomas Lüthi gestandene 41 und Lukas Mantel gerade mal 32. „Früher haben wir mehr musikalischen Apparatebau betrieben, also ganz komplizierte Sachen präsentiert. Außerdem war bei uns alles auf Humor angelegt. Wir wollten bei unseren Konzerten vor allem comicartige Teile bringen, die stark groove-betont daherkamen. Manchmal haben wir unserem Publikum die Stücke einfach um die Ohren geschlagen. Jetzt legen wir großen Wert auf den Sound und improvisieren mehr“, beschreibt Posaunist Bamert die veränderte Ausrichtung von Tré. Das liegt am neuen Schlagzeuger Mantel, aber auch an der gewonnenen Reife der Gründungsmitglieder Bamert und Lüthi. Zwei Herren im besten Mannesalter, von denen Tenorsaxofonist Lüthi mittlerweile auch Vaterpflichten zu erfüllen hat und die mit ihrem mittlerweile fünften Album nicht bloß als Schweizer Gaudiburschen, als virtuose Musikclowns wahrgenommen werden möchten. „Irgendwann kommt dieser Punkt, da hat man das ständige Ironisieren einfach satt“, sagt Bamert resolut. „Eigentlich geht es doch um die Musik. Mir ist es mittlerweile wirklich ernst mit dem ganzen Spaß!“

Dabei wäre ein Titel wie „Edle Einfalt“ auf den ersten Blick durchaus geeignet, Assoziationen mit den dadaistischen Vorgänger-Werken wie „Karpfen in Wilhelmsdorf“ oder „Aufwind“ zu wecken. Für die dreiköpfige Formation, die erstmals 2006 mit ihrer Debüt-CD „Fundamental Music“ als Teil der erfolgreichen „Jazz thing Next Generation“-Reihe für Furore sorgte und zuletzt 2012 auf „Brissago“ sogar mit einem animierten „Movie-Gipfel-Gig“ kräftig am Entertainment-Knopf drehte, geht es diesmal jedoch um mehr als nur um ein pfiffiges Wortspiel. „Wir wollen zur Einfachheit zurückkehren“, beschreibt Bernhard Bamert. Dafür nahmen Tré Anleihen bei dem deutschen Kunstschriftseller Johann Joachim Winkelmann (1717-1768), dessen Formel „Edle Einfalt und stille Größe“ wiederum Johann Wolfgang von Goethe inspirierte. Dabei geht es um die Simplizität des behandelten Stoffes; ein Denkansatz, der sich dem Verspielten und Überladenen des Barock und Rokoko entgegenstellte. Als Goethe im 18. Jahrhundert Jakob Gujer, der unter dem Namen Kleinjogg Berühmtheit erlangte und als Wegbereiter der modernen Landwirtschaft gilt, auf dessen Hof im Kratzenrüti bei Zürich besuchte, soll er die Schlichtheit seines Konzeptes mit dem Terminus „edle Einfalt“ gerühmt haben.

Genau in diese Richtung sollte es bei Tré gehen. Weder überladene Arrangements noch banale oder gar populistische Anbiederungsversuche. „Einfalt als Begriff war damals absolut positiv besetzt“, erklärt Bamert. Sich auf das Wesentliche konzentrieren, der Schlichtheit wieder mehr Raum gewähren. Der Posaunist und seine Kumpane suchten im Dschungel des zeitgenössischen Jazz nach Erdung – und fanden sie durch eine Rückbesinnung auf simple Songstrukturen. Als Ausgangspunkte wählten sie entweder kinderliedartige Songstrukturen („Drumherum“, „Dente Caduto“, „Ninna nanna“, „Kneipe“), volkstümliche Weisen wie das Titelstück, „Nur“ und „Tänzchen“, prismenartige Konglomerate aus italienischen, spanischen, jüdischen und türkischen Versatzstücken, wie bei „Canto“ vom Orchestre Goldberg, das zu Beginn des 20. Jahrhunderts in Konstantinopel für Furore sorgte, „Árpád Jean-Gaspard Dschingis“, „Comme Les Chiens“ oder „Anatol“ sowie freie Improvisationen („Elf“, „Kommod“). Selbst der klassische Jazz kommt im neuen Tré-Outfit schlank und asketisch daher („Milbe“).

So klingt es also, wenn die Pubertät ein für alle Mal vorüber ist und sich Bernhard Bamert, Lukas Mantel und Thomas Lüthi nicht auf den Lorbeeren ihrer Sturm-und-Drangzeit ausruhen wollen. Ein ernstzunehmendes und dennoch höchst kurzweiliges Hörerlebnis, das hin und wieder sogar in blankes Vergnügen ausartet. Eine echte Tré-Scheibe eben.

Artist(s)

Bernhard Bamert

Bernhard Bamert (born in 1970) is a gifted trombonist and qualified graphic designer. He is responsible both for the striking look of the CD as well as for the short film (together with Lukas Egger). He is a CD-plus on 'Brissago' – a great selected extra! Thomas Lüthi, born in 1973, studied at the Bern Jazz School under Andy Scherrer and is one of the saxophonists most in demand in the meantime, and not just in Switzerland. His special, warm sound fits perfectly between trombone and drum set. Christian Niederer (1971) is the 'pacemaker' of the trio and knows all the tricks. Not only how you generate a groove, but also how you can warp a groove, so that you...
more
Bernhard Bamert (born in 1970) is a gifted trombonist and qualified graphic designer. He is responsible both for the striking look of the CD as well as for the short film (together with Lukas Egger). He is a CD-plus on "Brissago" – a great selected extra! Thomas Lüthi, born in 1973, studied at the Bern Jazz School under Andy Scherrer and is one of the saxophonists most in demand in the meantime, and not just in Switzerland. His special, warm sound fits perfectly between trombone and drum set. Christian Niederer (1971) is the "pacemaker" of the trio and knows all the tricks. Not only how you generate a groove, but also how you can warp a groove, so that you only think that you can detect a rhythm. The fact that he has played in very different bands from funk to soul and jazz is more than obvious.
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Lukas Mantel

Lukas Mantel (b. 1982) is a drummer and composer from Zurich. Since studying under Pierre Favre, Norbert Pfammatter and Fabian Kuratli at the Lucerne University of Applied Sciences and Arts, he has been exploring classical South Indian music in depth and delving into numerous ethnic music traditions. Today, due to his wide-ranging experience in various musical genres, he is seen as one of the most innovative and independent voices among Swiss drummers. He has been leading his own sextet since 2017 and also works as an arranger and composer for other groups. With great sensitivity and capacity for interaction, he incorporates energy and groove into the music, while texture and timbre are always an important element of his play. Concerts...
more
Lukas Mantel (b. 1982) is a drummer and composer from Zurich. Since studying under Pierre Favre, Norbert Pfammatter and Fabian Kuratli at the Lucerne University of Applied Sciences and Arts, he has been exploring classical South Indian music in depth and delving into numerous ethnic music traditions. Today, due to his wide-ranging experience in various musical genres, he is seen as one of the most innovative and independent voices among Swiss drummers. He has been leading his own sextet since 2017 and also works as an arranger and composer for other groups. With great sensitivity and capacity for interaction, he incorporates energy and groove into the music, while texture and timbre are always an important element of his play. Concerts with the following artists have taken him to Europe, South America, Asia and the Arab region: Pierre Favre & The Drummers, Yves Theiler Trio, Christy Doran's Sound Fountain, Karoliina Kantelinen, tré, Ghost Town, Lucerne Jazz Orchestra, Nat Su, Vincent Membrez, Christoph Stiefel, and Michael Bucher.

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Composer(s)

Press

Jazzthetik Best Of 2015, Stefan Pieper, Category "Gift recommendation".
Jazzthetik, 01-1-2016

"Cheeky, wayward and creative"
Radio Dreyeckland, 05-7-2015

"...the melodies are in the center of attention - and that not at all in a simple way. Instead of mixture, it is about pluralism, friction and discourse. For this, the release offers many genious-simple solutions."
Jazzthetik, 07-5-2015

The chamber-music adventure presents swift, funny and cautious songs, with references to folk and jazz, Banda and New Orleans, a little bit of funk and still the jarring moments shine in clarity.
Jazzthing, 23-3-2015

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