Udo Schindler & Katharina Weber

Udo Schindler & Jordina Millà
The Dew that Flies
Creative Sources CS 871 CD

Krailling-based multi-instrumentalist Udo Schindler has never been one to turn down a challenge. You can see that by observing his extensive catalogue where the German multi-instrumentalist has improvised alongside any number of local or international musicians  playing almost every variety of acoustic or electronic instruments. Additionally Schindler is also up for collaboration, whether it’s a one-off or a longtime partnership.

These sessions which pair Schindler with two different pianists exhibit both situations and capture how he responds to others’ strategies. Interesting enough both keyboardists work both in the notated and improvised fields. Swiss Katharina Weber, featured on Sichtungen & Lichtungen, has played with Schindler in the past, besides working with musicians ranging from Fred Frith to composers like György Kurtag. Meanwhile Catalan pianist Jordina Millà whose debut with Schindler is on The Dew that Flies, has played with among others Agustí Fernández and Barry Guy. Weber, who is also involved with intermedia projects, uses not only the keyboard, but also her voice and so-called noises on her four duets with Schindler. He in turn divides his responses among soprano saxophone, bass clarinet, tubax and cornet.

The last is particularly important on Sichtungen & Lichtungen since ascending Reveille-like brass triplets are the first sounds heard on the disc. Weber’s immediate response is tinkling or thrashing the keys, shaking bells alone or reverberating them on the piano strings, while projecting vocal noises in a faux soprano range. These variants continue throughout the session as Schindler moves among deepened brass growls, fragmented smears and note-bending vibrations from his high-or low-pitched reeds to animate dynamic cross motion. Facing his output which can switch from quivering basso snores to high-pitched caws, split tones and tongue slaps, the pianist maintains her cooperation vocally and instrumentally. Note-swallowing gurgles and yodels on her part are heard that often replicate reed projections, yet at the same time she doesn’t neglect the piano. As she pivots from galloping full-force key thrusts to processional responses and darkened comping, she also smacks the instrument’s wood and plucks on the  inner piano-harp.

The most extended illustration of this synergy occurs on the 29½ minute “Hybride Autonomien.” Rhino-like tubax snorts and soprano saxophone aviary shrieks means that Schindler’s contributions are as often chalumeau as clarion, while Weber adds mouth percussion. At the same time each works to maintain and evolve the linear melody, with interjections such as tongue jujitsu leading to reed projections and bites, plus key slaps, mallet stroke on internal strings and key splattering, all knitted into dual horizontal movement. Expressing light and darkness, high and low textures, following a mid-way pause, mandolin-like string frails and narrowing reed doits introduce a gradual gentling final sequence which wraps up the narrative but not before some pinpointed reed multiphonics and speedy keyboard patterns are noticeable.

Without any vocalizing and so-called noises limited to what can be produced with piano techniques, Millà offers a divergent and individual take on pianism. Although Schindler’s horns aren’t as clearly delineated as on the other disc, the sound is somewhat the same. Also although the track titles come from Sylvia Plath, the seven tracks appear not particularly poetic or melancholy.

Instead Millà, a more percussive pianist than Weber, challenges the various reed and brass tones with keyboard cascades and the occasional drone as well as spending additional time inside the instrument.  On the introductory “ the arrival of the bee box” for instance tremolo string shakes including bell and other implements create vibrations that appear to involve timbres sourced from the piano’s dampers and hammers. Amplified by the soundboard this procedure serves as perfect counterpoint to spraying clarinet overblowing as well as reed bites, slurs and ascending yelps. Among the dual string, brass and reed augmentation, there are also sequences where reed outlines become more melodic and keyboard touches become more lyrical. There are also episodes of angled reed screams and pounding piano keys.

However the duo’s true definition occurs on tracks such as “sheep in fog” and “the moon and the yew tree”. Built around dedicated piano string drones and intensified keyboard rolls as well, as every manner of  yelps, double tonguing and altissimo reed patterns, “sheep in fog” turns decisively as hunting-horn-like variations are cut off and subsumed in piano glissandi. Hand muted cornet flutters and bouncier piano motifs create the finale on the other track, fading away after an introduction of squeaky brass triplets and single key clanks.

All three musicians offer much to listen to – and for – on these sessions. Now that these narratives are completed Schindler will likely go on to play with different instruments and in larger groups. At least until these individual duos are convened once again,

–Ken Waxman

Track Listing: Sichtungen: 1. Vagabundierrende 2. Hybride Autonomien 3. aledidoskopisches Labyrinth 4. Multiple Gefilde

Personnel: Sichtungen: Udo Schindler (soprano saxophone, cornet, bass clarinet and tubax) and Katharina Weber (piano, vocals and noises)

Track Listing: Dew: 1. the arrival of the bee box 2. the Munich mannequins 3. little fugue 4. sheep in fog 5. the moon and the yew tree 6. the night dances 7. getting there

Personnel: Dew: Udo Schindler (clarinet, bass clarinets, soprano and tenor saxophones, cornet and tubax) and Jordina Millà (piano)