Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
This line up on this album exists of drum set and two pianos (sometimes with added electronics) and finds its way to new heights in bringing improvisation and composition together. Once could count it to zeitgenössischer/Neuer Musik, but the difference to often too cold and calculated E-Musik is, that the artists here open doors to new dimensions in combining brain acrobatics and emotion.
Drums & Percussion
OLI STEIDLE, HANNES SELIG, DAN NICHOLLS Credo
(Trouble in
the East Records, TITE-REC 015): Das Glaubensbekenntnis eines unserer kreativsten Drummer, dessen Aktionsradius von Soko Steidle und Der Rote Bereich bis Oliwood und Philm den von Lillinger oder Andrzejewski noch überschwirrt? An seiner Seite sitzt mit Selig am Piano ein Nürnberger Spezl (dem wir zuletzt als Macher von SMP begegnet sind) und mit Nicholls an Keys & Synth, einer, mit dem Steidle als The Killing Popes Egopillen eingeworfen hat. Eine kauzige Besetzung für getüpfelte Loops, an denen ihnen, wie sie behaupten, die Quadratur des Kreises gelingt, nämlich Hirnakrobatik und Feeling unter einen Hut zu bringen, Abstraktes so auszutüfteln, dass es lyrisch klingt und Hintersinniges so hinzuflocken, dass es einem leichtsinnig vorkommt. Was es tut. Als rasant geklimperte Arpeggios oder stupendes Tremolo, als leichthändige Pointillistik, mit Beselchen gewischt, wie mit Essstäbchen gepickt und getickelt, pianistisch ebenso berauscht wie perkussiv. Mit eingestreuten Rumplern und crashenden Blitzen, umschwärmt von elektronischen Phantomen. Im Handumdrehen zurückgenommen in lyrisch fragende Gesten, um gleich wieder wie Popcorn zu springen zu verhuschtem Gewisper. Selig setzt klirrende Tupfen, als neutönerische Aleatorik, durchsetzt von Nicholls'schen Irritationen, mit unabsehbaren Repetitionen, händischen und automatischen. Malewitsch'sche Quadraturen in Schwarz und Weiß, mit gewürfelten Malefiz-Sprüngen. Temporeiche, hyperagile Action, ostinate Wühlarbeit der hämmernd und tremolierend rumorenden Linken, hinauf in linde Gefilde, mit ratterndem Nachdruck. Und gleich wieder kristallin tropfend zu metallischem Klingklang auf schwammigem Grund. Und auch zuletzt nochmal ein löchriges Tasten, ein unrundes Rucken wie gegen einen inneren Widerstand. Selig sind die Zaudernden, die nicht ans Glück der Lemminge glauben. [BA 106 rbd]...more
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Compact Disc (CD) + Digital Album
comes in nice digipack
Includes unlimited streaming of CREDO
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Listen up! Something unique is happening here. Drummer Oliver Steidle, keyboarder Dan
Nicholls and pianist Hannes Selig succeed in musically squaring the circle. The credo of the three musicians is to play with the perception of contemporary art music without imposing its intellectual superstructure on the listener. Without blinders but open to self- honesty, a not so common quality in the world of jazz, they accomplish the rare feat of emotionalized abstraction.
Oliver Steidle has worked in and with a pool of musicians for many years, who together have learned to speak a collective language of sound. Witihin this common idiom, individual protagonists are able to develop their personal dialects. The drummer Steidle gravitates increasingly toward molecular emotionality. His playing can be described as a personal sound chemistry, and while such a label would otherwise be over the top, it rings true for Steidle. For all of their complexity, the compositions of the Berliner remain playful and anchored in the moment. No matter whether he is leading a project himself or working as a sideman, the person remains recognizable in his music.
For the new production of "Credo", he joins forces with two friends who along side of similarities in their playing, share this quality of the personal in their music. Keyboarder Dan Nicholls, who also plays in Steidle's bands Oliwood and Killing Popes, is a constant companion of Stiedle over the years. Pianist Hannes Selig has worked with Steidle for over 20 years in various constellations. Selig is an autodidactic, a committed improviser, as well as a seasoned concert-organizer, including a festival in Nuremberg . The expansion into a trio immediately jelled and holds much promise for the future. "In jazz you always feel like a soloist who plays in different projects", says Oliver Steide on his choice of musicians. "Therefore it is extremely important to play with the right people so that you can find a level for which you don‘t need to work to achieve. This personal connection came easily for us on the CD. Despite the high degree of abstraction, an element of melancholy runs through the music. It conveys an emotionality that is very important to us."
When serving a good meal, it is not important to list all the ingredients. This is also the case for Steidle‘s music, based on many stylistic components and strands of tradition. The personal filters of Steidle, Selig and Nicholls meld into a unit in which the primacy of the source material fades away.
This unit is not in the least defined by Steidle's own vocabulary. The authenticity of his music lies in a sence of audable uncompromiseability in each of his projects. The further he delves into his linguistic research, the more organically he is able to meld the chattering of the individual with the conception of the structure. Were the Killing Popes to represent through rebellious dissension, hectic activity and internal panic a kind of futuristic bebop for the 21st century (whereby bebop in this context is not to be
understood as a stylistic convention, but rather as an attitude), on the new CD, a single stringent musical statement emerges. Already in an earlier duo with Hannes Selig,
the basic idea was to stick to an idea for a very long time in the improvisations and savour them. The trio has a unified approach which pervades the music, despite diverse shadings from romanticism to futurism. An essential component is the sound. The price question is how far one can take the sound within a given constellation, in this case three select personalities. Both the piano and the drums can produce a great variety of timbres and colors. Thus in the duo, Steidle/Selig, the converged spectrum of tone color converges on boundlessness. Nicholls employs a unique sound palette, extending the sound surfaces of the duo with depth. The electronic building blocks do not hinder, but rather complement one other.
Steidle has traveled an interesting developmental curve in order to arrive at this listener‘s music. In early projects, was he was an artist who could lose himself through a very high level of creative focus. In recent years he has become a musician who finds his digression in everywhere. The where and when ist not important, but rather the path on which he finds himself. In „Credo“ this is the case for both the listener and the three musicians alike. "Credo" describes a path, which one wants to follow again and again, not least because it leads over and over again to new places.
credits
released May 1, 2020
1. They Are Discovered
2. Not Having An Idea About It
3. Notable Qualities
4. Anybody Knows About The Future
5. Ending Of The Composition
6. Credo
7. Something Remarkable Has Happened
8. Without Having Been Made
All music by Nicholls / Selig / Steidle
Recorded by Gerhard Grell (www.highstreet-tonstudio.de) 6+7 Aug 2018 Produced by Dan Nicholls
Mastered by Peter Beckmann
Recording funded by KUF Kulturreferat der Stadt Nuremberg
Hannes Selig – piano
Oli Steidle – drums
Dan Nicholls – additional piano programming, keyboards and modular synthesizer
Oli Steidle plays Tama drums, Meinl cymbals and Vic Firth sticks
Originally from Nuremberg/Bavaria Oliver Steidle moved to Berlin in 2000. As a drummer/composer/bandleader he worked
together with Der Rote Bereich, Peter Brötzmann, Trevor Dunn, Peter Evans and many many more. Musically he is traveling in the wide field of Jazz, Improv, complex compositions. He was awarded twice with "deutscher Jazz price" as drummer of the year and band of the year (PHILM)...more
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