Udo Schindler/Rieko Okuda/Eric Zwang Eriksson

Reaching a new apex in his collection of penetrating improvisations with this two CD set is Munich-based multi-instrumentalist Udo Schindler. Subverting the catchphrase that two’s company and three’s a crowd, Schindler, who plays soprano and tenor saxophones, bass and contra bass clarinets and cornet in various combinations here, is involved in intense creativity with Japanese pianist Rieko Okuda on the first disc, with the duo joined on the second for an equally imposing three-way dialogue by German drummer Eric Zwang Eriksson, who has frequently worked with Schindler in the past.

Beginning with stop-start pianism and clarion clarinet tones, the Schindler-Okuda duo soon arrives at a mid-tempo aggregate that disrupts the interface as keyboard single notes and clips come in and out of focus. Clarion bites and split tones on Schindler’s part ascend to altissimo and prestissimo making an arc of pointed tones with detours into body-tube scoops and honks. Initially  maintaining jerky, but linear piano runs Schindler’s switch to half-valve cornet buzzes allows Okuda to rummage through the piano’s inner strings, rub objects on them and smack the instrument’s wood. Switching roles, whistling brass portamento create the needed continuum. Growly tenor saxophone slurs and tongue stops then thicken the ongoing aural ride as the pianist creates energetic, swaying patterning. Moving between raucous keyboard energy and individual plinks, Okuda  proceeds towards the climax as reed flattement, squeals and snarls follow, finally connecting with responsive horizontal patterns.

As an enhanced threesome, Eriksson’s cymbal clatter and drum smacks make the first part of “Rummaging in Disturbed Terrain” wilder and closer to ecstatic Free Jazz than any other sections. Added are cascading piano chords and a flurry of harsh reed stutters and multiphonic whorls and squeaks as well as a constant forward push from all three. As the musicians circle around one another the piece swell with unexpected keyboard glissandi, percussion rumbles and spirited interjections from Shindler that include inner tube whines and flatulence, rippling brassy reflux and plunger notes. These pivots to endless energy continues throughout the next sequences, encompassing keyboard stabs, popping rebounds from Eriksson and gravelling ratchet-like textures from the contrabass clarinet mixed. After the unabated reed snarls build up to a collection of irregular vibrations, tongue stops and shrill, shuddering doits they meet an equivalent pedal point piano output with the dual thickened motifs only slightly relaxed by rumbling tick-tocking drum beats.

This continuous Free Jazz blowing reaches a climax of dissonant clanks and clicks from both inside and outside the piano as well as  extended reed growls and nasal peeps on “Rummaging in Disturbed Terrain – part 4”. As Okuda’s fingers continue scampering across the keyboard and Eriksson adds cymbal sizzles, Schindler’s peak overblowing gradually contracts to converge with the others’ tones. Continuing to improvise with an ever-widening circle of  sympathetic creative musicians, Schindler also persists in creating striking sessions like this one.

–Ken Waxman

Track Listing: CD1: 1. Disturbed Terrain_1st Revitalisation – part 1 2. Disturbed Terrain_1st Revitalisation – part 2 CD 2: 1. Rummaging in Disturbed Terrain – part 1 2. Rummaging in Disturbed Terrain – part 2 3. Rummaging in Disturbed Terrain – part 3 4. Rummaging in Disturbed Terrain – part 4

Personnel: Udo Schindler (soprano and tenor saxophones, bass and contra bass clarinets and cornet); Rieko Okuda (piano ) and Eric Zwang Eriksson (drums- CD2)