Daniel Studer

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Anemochore: suites and seeds

Frantz Loriot, vla
Sebastian Strinning, bcl, ts
Daniel Studer, b
Benjamin Brodbeck, dr

All works by Anemochore

recorded on october 24th 2018 at WIM zürich by jean-marc foussat
mixed & mastered by philipp schaufelberger all music © 2019 by anemochore
produced by anemochore
graphic design by accent graphe
executive production by ernesto rodrigues
special thanks to: jean-marc foussat, philipp schaufelberger, ernesto rodrigues
label: Creative Sources, CS 593 CD, 2019

music:
vortex I, 6:07, 2018
dehiscence part I, 8:17, 2018

order: info@danielstuder.ch

cd reviews:

A sempiternal cluelessness forced this reviewer to Google the meaning of the group's name, namely a plant whose seeds or fruits are subject to dispersion by the wind. A somewhat poetic abstraction lying at the basis of a music with a high coefficient of frictional concreteness, notwithstanding a not infrequent rarefaction.
In the early 2000s Creative Sources was among the very first imprints to diffuse and promote this brand of interplay, involving ensembles removing all categories of egocentrism to accommodate the spontaneous generation of unorthodox sonorities. In this regard, we found out-and-out perfection here. The instrumental voices remain distinct, but none of them prevail. The contrapuntal development obeys to natural laws of expansion and contraction, taking the listener on a walk through scenarios where utter surprise and a measure of been-there-done-that-ness coexist without particular complications. Typical of this sonic sector, the boundary separating quietness from noise is practically nonexistent; the performers, deprived of stylistic passports, tour across disparate areas of impromptu creation. Percussive fragmentation, meditative breathing, complete detachment from a regular harmonic hypothesis, moderate-free-jazz-to-onkyo versatility. More or less, all one expects from such an album.
But.
Does it make sense to crystallize this kind of material on disc nowadays, over twenty years after the genre's initial waves? In theory, everything has already been assumed, recorded and talked about. In practice, even when a scarcity of originality looms there's always something new to learn. That "something" largely depends on commitment and honesty, proven presences in this circumstance. Anemochore draw their lifeblood from timbral interstices and arrhythmic labyrinths, still managing to conjure up gripping snippets from an apparent lack of authentic innovation. To stretch the concept, by letting the action flow carelessly someone might think of a complex, pleasantly predictable variant of "furniture music". On the contrary, plunging into these waters with a mind delivered from prejudice allows the inspection of crucial details and junctions that yield a considerable degree of aural contentment.
No need to suggest what listening method should be chosen.

Massimo Ricci, squidco.com, 2021

…Utilizing a relatively quiet volume level, they are able to work together to make the most of the nuanced scrubs, scrapes, flutters, pops, and shudders of their respective instruments. The almost deferential approach of the four players is also integral to their sound, with each member keenly aware of the collective balance of the group. Bass, viola, reeds, and drums are each equal members of the mix. The improvisations are full of restless activity and hair-trigger, conversational interplay with kernels of ideas picked up and refracted by each of the players. … the four have wholly immersed themselves in a cooperative group dynamic and the results are tight, unassumingly-voiced free playing.
Michael Rosenstein, point of departure, 2019

…Hearing what Studer and his associates can do to extend and distribute notes and tones with ensembles of conventional instruments in somewhat unconventional settings, confirm that future chapters of these musical programs will also be worth exploring.
Ken Waxman, jazzword, 2019

…Die Musik ist ein permanentes Rascheln und Flirren. Die Emsigkeit, mit welcher hier gear­beitet wird. könnte einem schnell ermüden. Aber die vier Musiker wissen auch um die Energie von "Leerstellen" und von klanglichen Mikroprozessen, die wie grosse Speicherbat­terien wirken und der Musik die innere Span­nung erhalten. Das Quartett findet zu wunder­bar transparenten Klängen und überraschen­den Schichtungen. Wir hören nicht virtuose Routine, sondern einen Organismus, der lebt und atmet. …
Pirmin Bossart, jazz'n'more, 2019

…Chaque improvisation raconte une histoire, développe un autre aspect, une nouvelle perspective dans le travail du son, de la phrase musicale introduisant une magnifique variété de timbres, d’alliages de sons, de phonèmes sonores en suspension, d’approches du silence croisées avec les murmures intérieurs, de traces d’action musicale et d’échos fragiles des réactions engendrées. Ecouter cet album est un florilège du vécu et de l’expérience acquise à improviser et à chercher / trouver l’instant précis où tout bascule et prend sens à travers une infinité de sonorités et de gestes. Dans cette galerie de signes, l’auditeur finira par trouver son chemin et jouir de la musique. Très réussi.
Jean-Michel Schouburg, orynx-improvandsounds.blogspot.com, 2019

…Suite and Seeds a la légèreté et l’agilité des graines de frêne dont les enfants, petits ou grands, font les hélicoptères. Il en a aussi la texture nervurée et unique, qui fait presque penser à de petits coquillages qui ne laisseraient pas entendre la mer, mais plutôt passer le vent. Le quartet tournoie, s’emporte au gré des courants mais atteint toujours son noble but : planter des graines pour le futur, dans l’attente fébrile de mieux recommencer.
Franpi Barriaux, citizenjazz, 2019

…Une musique (pour connaisseurs) tres pointilliste, serree (le tenor) et chuchotee, discretement captee par Jean ­Marc Foussat…
Jean Buzelin, culturejazz, 2019

…die vier Musiker wissen auch um die Energie von "Leerstellen" und von klanglichen Mikroprozessen. die wie grosse Speicherbat­terien wirken und der Musik die innere Span­nung erhalten. Das Quartett findet zu wunder­bar transparenten Klängen und überraschen­den Schichtungen. Wir hören nicht virtuose Routine. sondern einen Organismus. der lebt und atmet. …
Pirmin Bossart, Jazz'n'More 2019

_It’s another exemplary performance from an accomplished roster of jazz musicians who are proving quite prolific without ever letting standards drop. Thematically unusual, this is art jazz for connoisseurs.…
Stuart Bruce, Chain D.L.K. 2019

…Bruitistische Poesie also, gewebt aus einer Fülle leichter Gesten, kurzer Striche, leiser Puster, als Natur-Schau, als Hör-Spiel. Im Kontrast knarriger und borkig angerauter Basstöne, flockiger Spritzer, perkussiver Kürzel, fein geädert mit zarten Haltetönen, fein gekörnt mit Flecken und Punkten. Der menschliche Faktor, sprich, Melodie und Rhythmik, versteckt sich spielerisch hinter scheinbar unwill­kürlichen Impulsen kon­tingenter Bruitistik. …
Rigo Dittmann, Bad Alchemy 2019

© Daniel Studer 2013. All rights reserved.