Udo Schindler / Wilbert de Joode

January 28, 2022

Participation & Interplay

FMR CD 616-0721

Udo Schindler & Thomas Stempkowski

Related Unique Items

FMR CD 621-0721

Two dead double bass players and one live one figure into the instant compositions created on two of the latest collaboration involving Krailling-based multi-reedist Udo Schindler. Earlier of these distinguished duets, 2019’s Related Unique Items, was initially designed by Schindler and Viennese double bassist Thomas Stempkowski to salute the recently deceased British bassist Simon H. Fell. In a macabre twist, just as the disc went into production Stempkowski himself died, so it’s now a homage to two distinguished string players. Happily Dutch bassist Wilbert de Joode, who partners with Schindler on 2020’s Participation & Interplay is still very much alive. A veteran improviser, over the years he’s probably worked with as many free player as Stempkowski, who was a structural engineer and cabinet maker before turning full-time to music, moving in-and-out of notated and free circles during his career. The organic precision he brought to New music and improvisation from his former careers finds a similar ethos from Schindler,, who is also a respected architect. Securing bass and contrabass clarinet, alto saxophone and brass timbres to concentrated double bass strokes the two assemble architectural auditory structures during the protracted, multi-part instant compositions. “Autonomy & Commitment”. The four-part narrative is sonorous and sonically constructed in its first two iterations. Set up by the bassist’s supple strums, these stretched affiliations soon evolve to wood-sawing power to create the floor upon which the multi-reedist’s collection of ghostly screeches, vibrating spetrofluctuation and continuous brays are adapted to the exposition without upsetting its structural precision. With sound melding providing the ballast for Schindler’s brassy motifs and plunger tones to inch up the scale, a resolution is created with the climatic “2.2 A&C_2”. Waves of altissimo cries and harsh, dissected shrieks from reed overblowing modulate towards a lyrical interlude once mid-range string thumps blend exploding dissonance into logical horizontal development. Later, a coda of orphan screeches and snarks is resolved on the final brief tracks. Earlier “Beauty & Consequence” collates pointillist split tones, billowing glissandi and positioned flattement from Schindler’s horns to ease into less abrasive motifs after Stempkowski ceases more formalized bow strokes. Widening the andante pace with sul tasto swipes followed by sympathetic string strums, a continuum is established. Without lessening his dips into spiccato twists and turns, the bassist’s promotion of a steadying theme means that the reed whines and whistle which remain as atonal challenges become part of thematic coherence.

While the music created by Schindler/de Joode may not be as precisely engineered as that created by Schindler/Stempkowski, the setting was even more sympathetic. One half of the 10 improvisations were recorded in a structure designed by Schindler and colleagues. Playing bass clarinet, soprano saxophone, F-tuba and tubax, he confirms the spatial connection between the two arts he practices. At the same time since de Joode is a Jazz and Free Music specialist his mindset and responses in a duo situation come from a different place than Stempkowski’s. Throughout, motifs shift from harmonious to harsh and back again, with de Joode’s swelling string thumps consistently creating connecting cycles as well as defaulting to dissonant string tropes. His double bass continuum is challenging as much as comforting for Schindler, so that squawking saxophone flutters and distended clarinet bites are as much part of his sonic blueprints as mellow expositions. “LTS_P&I.4” is a defining instance of this dualism, with staccato string strokes initially abutting multiphonic reed elevations, with both sides soon thinning their output to shrill dog-whistles and spiccato swipes. Eventually story telling cadences are attained as reed squeals are moderated alongside low-pitch string pulls. The lengthiest exhibit of mutual exploratory improvising occurs on “LTS_P&I.7”. Divided into section, the first sequence contrasts upwards strokes from de Joode with distant bugling from Schindler. With an ambulatory bass line encompassing power plucks as an anchor, the expanded reed tropes are harmonized as often as they’re singular. This culminates in a pivot to the tubax, whose bassso heaviness sources more moving vibrations to evolve alongside de Joode’s sustained stops.

Schindler makes a point of collaborating with multiple sonically adventurous musicians. These discs preserve duets which realized their full potentials. Sadly the one with Stempkowski can never be repeated. But encores with de Joode would be welcome.

— Ken Waxman

Track Listing: Related: Beauty & Consequence: 1. 1.1 B&C_1-2. 1.2 B&C_2 3.1.3 B&C_3 Autonomy & Commitment: 4. 2.1 A&C_1 2.1 A&C_1 5. 2.2 A&C_2 6. 2.3 A&C_3 7. 2.4 A&C_4

Personnel: Related: Udo Schindler (bass and contrabass clarinets, alto saxophone and brass) Thomas Stempkowski (bass)

Track Listing: Participation: 1. LTS_P&I.1 2. 2. LTS_P&I.2 3. LTS_P&I.3 4. LTS_P&I.4 5. LTS_P&I.5 6. LTS_P&I.6 7. LTS_P&I.7 8. LTS_P&I.8 9. LTS_P&I.9 10. LTS_P&I.10

Personnel: Participation: Udo Schindler bass clarinet, soprano saxophone, F-tuba and tubax) and Wilbert de Joode (bass)