Von Schlippernbach-Altschul Quartet

What do you get when two veteran German free musicians and two experienced American Free Jazzers meet for the first time to combine into an ad hoc quartet? Dynamic blended sounds which during two long sets and an encore create improvisations that mix subtle, spikey and surprise. Maybe in terms of pure professionalism  the last adjective could be overstated. That’s because the creative background of all four is well-established.

One of the earliest German Free Jazz players, pianist Alexander von Schlippenbach has been leading distinctive band since the mid-1960s, most notably Globe Unity and a trio with Evan Parker. Almost 30 years younger, the other German, Rudi Mahall is one of this era’s most eminent creative clarinetists, with bands with the likes of Axel Dörner and has worked with the pianist in Monk’s Casino. American Drummer Barry Altschul, though slightly younger than the pianist has been playing almost as long with the likes of Anthony Braxton and George Lewis. Bassist Joe Fonda, the other American is 10 years Altschul’s junior, but besides his extensive work with Gebhard Ullman and Micheal Jefry Stevens has been affiliated with the drummer in a long-standing trio.

Free Flow’s tracks are abstract without being atonal and beside reflecting the antiphonic and aleatory nature of Free Jazz include references to earlier Jazz. Not only does von Schlippenbach’s admiration for Thelonious Mon’s music manifest itself  in direct quotes during the first track and the encore, but his key clipping, passing chords and rhythmic angles are undoubtedly Monkish. Plus there’s a point on the second extended improv when Fonda almost imperceptibly quotes “Night in Tunisia” in the middle of his solo.

Otherwise the sounds are what could be termed textbook Free Music. Alongside the pianist’s energetic bounces and clusters there are discursive moves from Fonda’ downwards pumps and stop plus string echoes and Altschul’s rolling strokes and cymbal pulses. Despite playing bass clarinet, Mahall doesn’t over emphasize the lower register. Instead, and with the pianist’s comping implicitly attached, he knits trills, tongue stops and split tones into clarion construction. Harsh reed squeals are moderated by a swing groove from the rhythm section, while his use of Woody Woodpecker-like repeated cries defines his individuality.

As the quartet works through the more than 50-minute “Free Flow 2” affiliated timbres are highlighted, along with solo space for all. Von Schlippenbach’s piano patterns move from gentle tinkles to tours de force of emphasized arpeggios and foaming note cascades. Fonda strops strings as well as holds the group horizontal pulse and Altschul contributes accents and power without overwhelming the blend. Mahall’s reed bites, squeezes and irregular vibration enliven the interface without ever losing their moorings. Strangled altissimo cries and downturned renal grunts are exhibited as well. But his pivots and pressure are taken in stride by the pianist.

Exhibiting the skills of creative musicians at the height of their experienced powers this sublime set up may be a never to be repeated anomaly. Maybe that won’t be so.

–Ken Waxman

Track Listing: CD1: 1. Free Flow (set 1) CD:2:  1. Free Flow (set 2) 2. Encore

Personnel: Rudi Mahall (bass clarinet); Alexander von Schlippenbach (piano); Joe Fonda (bass) and Barry Altschul (drums)