Christopher Dell

Blumer/Dell/Geiser/Morgenthaler
Beyond Scope
Hat hut ezz-thetics 1062

German polymath Christopher Dell who manages to combine a career as urban design and architecture theorist as well as working vibraphonist and composer, is equally flexible in his music. Leaping among genres when improvising with the likes of  Uli Kempendorff, Theo Jörgensmann and Christian Lillinger, his notated and aleatory pieces are directed toward minimalist chamber programs. These discs are examples of each, with Das Arbeitende Konzert, a sound exploration within a six-member German ensemble. Meanwhile Beyond Scope is a six-part free form exploration with his vibes partnered with the long-established Swiss group of trombonist Robert Morgenthaler, bassist Fridolin Blumer and percussionist Heinz Geisser, all of whom  have recorded previously with numerous other players.

The melodic and rhythmic transformations which characterize most of Das Arbeitende Konzert’s broken octave ambulation vibrate via the trumpet work of Pascal Klewer, that alternates among place holding portamento, half swallowed grace notes and ascending brassy triplets. These propelled extensions are often decorated with Dell’s pinpointed metal bar shivers or challenged with contrapuntal pops. Interludes of resultant melodies arise from Evelin Degen’s flute trills or with cresting flutters from Stefan Karl Schmid’s clarinet. Meantime the intersection of textures from Anna Neubert’s violin, Elisabeth Coudoux’s cello and Kathrin Pechlof’s harp not only frequently define a connective ostinato, but also corral tonal ambiguity with note and timbral additions that confirm rhythmic or melodic transformation.

Balancing competing impulses characterize the program with the performance eventually wrapping up with “Formblock 04” that integrates harsh string slides, widening brass puffs, lowing reed strains and vibraphone side percussion into a dynamic tutti reprise. Although the penultimate “Formblock 24 + Sentenzen” balances on  tremolo pulse to preserve horizontal evolution, the melodic and rhythmic transformation actually depends on follow-the-leader creativity in the form of strokes, peeps, reflux and blends from individual instruments. However the cushioning flow briefly touched had remained resolutely group music during earlier elaboration of the same theme.

Otherwise and elsewhere pivots to slow textural changes where subtle note additions create a resultant melody depend on enfolding such techniques as cello string sweeps, flute peeps and lyrical harp glissandi in such a way that parallel projections become almost cemented. Still, the sonic undertow still allow for dynamic expression and occasional contrapuntal provocation. Strained and harsh brass puff and angled string sweeps confirm tonal ambiguity, though the linear flow is preserved throughout by broken chord  evolution. This sound integration allows minute shrills, buzzes and plinks to peep through adding to or altering the production with lively intersections.

No one would confuse the other disc with a sloppy R&B or off the wall Ecstatic Jazz session, but the quarter’s interpretations are looser and more contrapuntal than those from the first band. For a start Geisser’s percussion thumps and ruffs with metallic and woody idiophone  adaptations create a continuum if not a groove. Pinpointed double bass stop and arco string swipes add to the connection or intensification of themes. Dell’s vibraphone patterns with clanging and ringing asides are liberated enough to deepen rather than decorate the tunes.

But the main difference is personified in Robert Morgenthaler’s trombone strategy. From the introductory title tune all the way to the concluding “Out There”, the collection of brass flutters, tongue stops, eacho-chamber-like slurs, tailgate runs and pumping growls provide never ending invention. The other instruments array themselves around his tones, especially during those interludes where portamento projections solidify horizontal motion.

Notes, cells and timbres are often isolated, so, for example, a lyrical exposition on “Source” can be divided among Blumer’s scratching arco strings, the percussionist’s turn to maracas rattling and cymbal splashes, occasional metal bar resonation from the vibes and half-valve shudders. All are pinpointed as themes ripple across the interaction.

Eventually even more technical expansions from the trombonist by propelling toneless breaths through his instrument’s body tube or deep in the throat slides on the extended “Out There” intensify the interaction. Responding to this, a slowly moving double bass line, rolling vibraphone tingles and rim shots make common cause with the brass aggression, and scrunched together create a penultimate tutti drone, with the thickened conclusion confirmed with a sprightly four-note bass string pattern.

Operating with multiple allusions to the aleatoric, notated, improvised and creative swing worlds appears to not faze Christopher Dell and his associates. These discs provide the evidence.

–Ken Waxman

Track Listing: Das: Revision IX: 1. Formblock 01 2. Hyperbole Extended 3. Formblock 02 4. Formblock 17 5. Noem 6. Topology Extended 7. Formblock 24 + Sentenzen 8. Formblock 04

Personnel: Das: Pascal Klewer (trumpet); Stefan Karl Schmid (clarinet); Evelin Degen (flute); Anna Neubert (violin); Elisabeth Coudoux (cello); Kathrin Pechlof (harp) and Christopher Dell (vibraphone)

Track Listing: Beyond: 1. Beyond Scope 2. Spectra 3. Source 4. Matrix 5. Canvas 6. Out There

Personnel: Beyond: Robert Morgenthaler (trombone); Christopher Dell (vibraphone); Fridolin Blumer (bass) and Heinz Geisser (percussion)