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"HiGH ▀ iNTELLiGeNCE tRoLLS"
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a r t i s t : Ton-Art
t i t l e : Mal Vu. Mal Dit.
d a t e : 1991
l a b e l : Hat Art
g e n r e : Jazz
r l s. d a t e : Feb/2004
t r a c k s : 09
b i t r a t e : 192kbps
s i z e : 97,6 MB
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Werner Dafeldecker double bass
Susanna Heilmayr oboe
Michael Moser cello
Klaus Peham tp. flgh.
Burkhard Stangl guitar
Johann Karl Steiner "Hans" bass clarinet
Paul Skrepek "Cornelius Gzesh" drums
Bernhard Spahn alto sax
+ Tom Varner french horn
Where Ton Art's Z· was an angular mix and match of all the
dying music styles of the 20th century whose parts were used to
create something new and different, it was still an effort that
required the blending of those styles by musicians who had
different approaches to them. Here, that sextet with two more
years of grafting and extrapolating under their belts has
expanded to a nonet, offering more opportunities than ever for
cultural and musical terrorism. The group's latest offering is
more solid, but less solidly any one thing. The new band adds
Michael Moser's cello, Susana Heilmayer on baroque oboe and
viola, and Tom Varner on French horn to the septet's alto sax,
bass clarinet, bass, drums, trumpet, flugelhorn, and guitar
mix. What is revealed on Mal Vu Mal Dit Is not so much the
destruction of the rules of any particular game but a band that
experiments musically with the rules of any of those games they
devise as a whole. So, the CD begins by reaching deeply into
1930s jazz and serial tone rows to make them swing as in "Good
Luck George Washington & Kim Novak" by Tom Varner and arranged
by Hans Steiner. Here avant-garde improvisation sits atop
smattered ostinato muted trumpet figures and glissandi strings
and a horn section playing a section of Sch÷enberg's Moses und
Aaron in blues time. The centerpiece of the album is guitarist
Burkhard Stangl's "Neun Passages," a jazz work so complex it
cannot be contained within the term. The charts are all written
for instruments playing at the top of their registers in
varying harmonies, with no discernible melodic framework
between them. Intermittent passages of improvisation, almost
always brief, are layered between repetitious lines and
ostinato figures. Shades of Milhaud and Henry Cowell are
layered in between swing measures, and Berg makes an appearance
next to Bud Powell and "Little Rootie Tootie!." The strange
thing is, with all the celebratory jazz, the piece is, for the
most part, bleak, moody, and strung with a harmonic
counterpoint that extracts almost all the color from its
palette. Perhaps this meditation on melancholy results in the
free jazz "Suite pur des Voleurs," dedicated to Jean-Luc Godard
by Steiner. Here, free blowing and loose, harmonic collages
abound, carrying the entire band over into a morass of gorgeous
cacophony. Rhythm and meter disappear into the vanishing
specters of melodic presences where only tonality and voicings
count for expression. By and large, though the charts are more
complex and the music more dense, and thus more demanding on
listeners to find themselves in the music, Mal Vu Mal Dit is
deeply satisfying as a record of changes in how we perceive the
relationship between musical history and music, and how deeply
fixed our ideas about harmony, melody, and rhythm can be and
still allow for angular, even jagged intrusions to widen our
perspective.
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01-Good Luck George Washington & Kim Novack [05:09]
02-Metamorphology [06:07]
03-Neun Passagen [11:25]
04-Suite Pour Des Voleurs [09:50]
05-Vedute [05:23]
06-Die Bralasurende Saravalla [08:05]
07-Dada & Bravo [07:39]
08-Mal Vu. Mal Dit. [11:01]
09-TV-Ton-Art [06:25]
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71:04 min
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