Eric Dolphy In Transition

Eric Dolphy (sax, clarinet, flute; b. 1928 d. 1964)

Out There (Prestige, 1960)

The L.A. native, Eric Dolphy, made a number of appearances as sideman before recording his debut Outward Bound (Prestige. 1960), brilliant slice of hard bop with exceptional promise. He had become a multi-instrumentalist, particularly through his improvisational work on the bass clarinet. He worked with both Charles Mingus and John Coltrane whom along with Charlie Parker were huge influences on his compositional work.

Many people, myself included, will site that the ultimate Eric Dolphy album to own is Out To Lunch (Blue Note; 1964) but I also believe that there is an album that marks the origins of what Dolphy would continue to explore for the rest of his career. That album is Out There (Prestige; 1960). Eric Dolphy employed a quartet that was minus a piano player. Instead he chose the legendary Ron Carter (cello), which would result in some of the most memorable interchanges you will ever hear. The quartet also included George Duviveier (bass) and Roy Haynes (drums) whom both add tremendous dimension to the proceedings.

The opening "Out There" is wonderful piece of free jazz in which Dolphy expresses the angular emotion that made his recorded output so unique that he former employer Coltrane would later take note and say that mention that many people missed the beauty in Eric Dolphy's music. A large majority of sessions features Dolphy on clarinet but it is an excellent opportunity for the listener to hear why he was considered one the few musicians to turn the clarinet into an unbelievable improvisational instrument.

On the Charles Mingus penned "Eclipse" Dolphy and Carter connect in one of most hauntingly beautiful ways. The ballad "Sketch Of Melba" illustrates the more melodic bluesier side which Dolphy could turn with ease. The session closes with a drifting and scale jumping "Feathers" in which Carter and Dolphy connect again with an uncanny beauty that would be reminiscent of Monk and Rouse.

Out There is a transitional album--bridging the more standard bop of its predecessor, Outward Bound with the future exploration of free jazz that would later result in the masterpiece of Out To Lunch. The Dali-esque album cover is slightly misleading to the accesible nature of the entire recording. But make no mistake, Out There is an album that stands on its own and should be a must in your music collection. A brilliant album by an artist would be gone all to soon.

A Quick Chat with Christian Prommer

"You Are What You Listen To"

Earlier this week, JazzWrap reviewed the new album by Christian Prommer. Today, we catch up with Christian to find out more about Drumlesson Zwei, his musical influences and what he plans to do next.

The new album is slicker sounding and more electronic than the previous Drumlesson releases. Why is that? Did you use different recording/mixing methods?

No, the mixing methods have been similar. I like to combine the analog and digital sound. What has changed compared to the first record is that I played a lot on all the pieces. Mostly, the drums, but also synth and piano.

For Drumlesson Zwei I took a different approach in the way I recorded the material. I was not so focused on the performance of the musicians as an ensemble, more on the vibe and the little ideas in between. I later worked on the tracks in the studio, re-arranging and deconstructing the sessions from the players.

Who were your key collaborators on Zwei and how did they contribute?

I used the musicians that toured for me the last two years (Roberto Di Gioia on piano, Matteo Scrimali on drums, Ernst Ströer on percussion and Christian Diener on bass) plus Uwe Karpa on guitar. He was a great new addition to the group. He is a Krautrock veteran and brought a great sensibility to the music. The musicians contributed in the way that they "vibed " to my ideas. In turn, I gave them new directions for many variations. It's great to see where the journey goes when everyone is locked in and take off.

What is the "mission" of Drumlesson?

The mission is best described as "a live performance DJ set." I like to get the band to play like a DJ. For me, that means we play very energetic and minimal at the same time. The name, Drumlesson, comes from the fact that I feel like I'm taking a lesson every time we play. These great players teach me something new every time.

Much has been said about the influences of jazz, Detroit techno and German electronic music in your music -- would you say that the influence is intentional or organic/accidental?

Hard to say. I think you are what you listen to and experience. I've really listened to a lot of the music for a long time now, so it's become part of my DNA. I feel a strong connection between jazz and techno as musical art forms. So, this might be more accidental that intentional.

How does improvisation work for you and the musicians who play on your albums?

Improvisation is great when done as an ensemble. I like the jam aspect of music -- either programming it or playing it. You have to be open to come up with new ideas. I think the improvisation is key to dance music as well. but is just sounds different. It is not about solos or playing very fast and difficult. It is more about bringing new textures together within a solid foundation of a rhythm track. I really love what happens when good musicians take off and give you a big variety of ideas as they play.

There are tracks on the new album ("Sleepy Hollow", "Sandstorms") that have a soundtrack feel to them. Is film music another influence for you?

I did not really go for the soundtrack feel as a concept. but my music works a lot with similar textures. I was looking for a more psychedelic sound than the last record I did. I really like the idea of soundtracks. The music in films is functional and very expressive and creative, similar to electronic music in a dance context.

What's next for you?

I will be touring with my new Drumlesson band, starting at the Southport Soulweekender on May 8th, then Europe, America and Asia until next year. I am also finishing a new project called Prommer+Barck that will come out this Fall, and I'll keep working on remixes and tunes for the dancefloor for labels like Gigolo, Compost , Buzzin Fly and K7.

Thanks, Christian.

The Intersection: Christian Prommer's Drumlesson — Zwei

The Intersection is an occasional feature on JazzWrap that looks at artists that blend jazz with electronica (a tradition pioneered by none other than Miles Davis on such classic recordings as On The Corner).

This week's focus is Christian Prommer's Drumlesson — Zwei (K7 Records)

In 2008, the Munich-based drummer, DJ and producer Christian Prommer released Drumlesson Vol. One, which features acoustic instrumental jazz versions of techno and electronica classics, such as Derrick May's "Strings of Life" and Kraftwerk's "Trans Europe Express." If your interest just peaked get ready for more.

Prommer just released Drumlesson Zwei (which is German for 2, of course), and it's even better. This time, Prommer expanded his sound palette to include electronic instruments, such as Moogs. Prommer, who plays drums, piano and percussion, is joined by guitarist Uwe Karpa, keyboard player Roberto Di Gioia, percussionist Ernst Stroer, bass player Christian Diener and drummer Matteo Scrimali. Prommer's production work is notably more electronic sounding than on the first volume, but there are still plenty of moments when the organic performances shine through the slick beats.

This time Prommer covers such artists as Carl Craig, Laurent Garnier, Jean-Michel Jarre and Underground Resistance, and he makes it all sound true to his aesthetic vision. While there are elements of improvisation, it would be a misnomer to sell this record on the merits of the musicians' chops. Soloing really isn't the point here, but the idea of playing with jazz feeling is real enough and the results show considerable stylistic range. "Groove La Chord" pulses with samba fury, "Jaguar" calls to mind the Krautrock grooves of Can and Neu, and "Sleepy Hollow" wouldn't sound out of place in David Holmes' groovy Ocean's Eleven soundtrack.

Speaking of movie music, there is a strong cinematic vibe on Zwei that wasn't nearly so palpable on Vol. One. The moody morose tension of "Acid Eiffel" and the gloomy intrigue of "Oxygene" will transfix your imagination with letterbox notions of underworld drama and romance.

Christian Prommer is someone to watch, and Drumlesson Zwei is something to hear.

The Intersection: Humcrush

Humcrush (group; fromed 2004)
Thomas Stronen (drums, electronics)
Stale Storlokken (guitar, electronics)

Two members of two highly influential Norwegians bands Supersilent and Food join forces with some stellar results. Humcrush utilize a blinding mixture of electronics and jazz improvisation that are extremely inventive. Thomas Stronen's drum work--adventurous, propulsive is the perfect compliment to Storlokken's dark almost evil keyboard brilliance. Between both of their groups they have managed to record three magnificent albums that build upon each other with maximum success. Ethereal in parts and sometimes sounding like a great blend of minimalism and contemporary themes Humcrush is one of my favourite groups of the last few years.

At times a sounding like King Crimson, Amon Duul, David Sylvian/Mick Karn's ambient works and fusion era Miles Davis, Humcrush is a most interesting proposition. Their most recent release Rest At Worlds End (Rune Grammophon) is probably the best place to start. It's technically a live album (recorded over a number dates) but you will never notice as the audience has been striped from the recordings. But Rest At Worlds End is an improvisation miracle. Tunes float and groove with ease and the exchanges between the two musicians in remarkable. The standout track is "Steam" which is funky, technodelic (I've been waiting to use that word) and so hyper-real that you wish you watching it performed live. Rest At Worlds End is melodic and eerie but with a lost of rich textures that will keep the listener captivated throughout. A must listen for everyone and make your own judgement from there.