Udo Schindler & Uwe Oberg

Never to be mistaken for mainstream Jazz, the four improvisations interpreted during Schädel-Magie could however be the most accessible creative music recorded by German multi-instrumentalist Udo Schindler. Not that that the Krailling-based sound creator has altered his playing in any way. It’s that Schindler, who has played in varied sized ensembles with everyone from Elisabeth Harnik and Sebi Tramontana to Damon Smith and Paul Rogers, frames these duets in partnership with Wiesbaden pianist Uwe Oberg. Like Schindler a proficient improviser, but with more of an attachment towards Jazz, the pianist during his career has worked with reedists as different as Evan Parker, Gebhard Ullmann and Rudi Mahall. This explains his sensitive interaction with Schindler who uses Eb, bass and contrabass clarinets plus alto flute here.

An in-sync comfort level is established from the first with “Körperzweig” based around expressive pedal point and gentling high-pitched textures from Oberg, with keyboard pressure or restraint suggesting honk-tonk pianism at points. Similarly Schindler’s reed elaborations incorporate wallowing chalumeau snores that extrude from the body tube, clarion trills and flutters as well, as mid-range pitches and tongue stops.

None seem fraudulent or forced, nor do later interludes where expositions are built up through flute trills that vary from delicate and pointillist to abrasive and splintered. Malleable enough to juxtapose with aggressive or arcadian textures designated transverse piping links easily with  keyboard slaps, processional chording or dynamic reflections.

The more than 15½ minute “Stirnziegel” allows the collaboration to explore all manner of tropes and motifs at its greatest length. Oberg’s sequences encompass commanding seemingly unstoppable keyboard chording; percussive stopped key emphasis; isolated clips; metallic twangs that resonate back from the soundboard and encompass items reverberating on top of the piano’s inner strings. Each pass accompanies or adumbrates Schindler’s list of interpretations that includes altissimo squeaks, subterranean snarls, linear clarion stances and unstoppable build ups of drones and smears.

Many will complain that this set offers nothing like conventional music. But for those who don’t know his massive recorded catalogue it’s probably a good place to start when investigating Schindler’s list of works. Those familiar with it will appreciate this slight deviation from his usual oeuvre.

–Ken Waxman

Track Listing: 1. Körperzweig 2. Kopfständerleine 3. Stirnziegel 4. Nachtmaschine

Personnel: Udo Schindler (Eb, bass and contrabass clarinets and alto flute) and Uwe Oberg (piano)