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a r t i s t : Olaf Rupp/Tony Buck/Joe Williamson
t i t l e : Weird Weapons
d a t e : 2005
l a b e l : Emanem
g e n r e : Avantgarde
r l s. d a t e : Aug/2005
t r a c k s : 02
b i t r a t e : VBRkbps
s i z e : 90,3 MB
_______________________________________________________________________
OLAF RUPP guitar
JOE WILLIAMSON double bass
TONY BUCK percussion
Digital recording made in Berlin
by Olaf Rupp - 2002 September 4
Total time 58:00
Excerpts from sleeve notes:
I think the three of us in the trio try to achieve a kind of
stillness through density and a certain degree of activity.
Like the many complex colours and shadings in a pointillist
painting that combine to form an impressionistic image, our
playing is often very active and busy, while, in totality,
creating a slowly shifting, almost three dimensional texture or
soundscape. It could be seen as akin to the optical 3-D
pictures that have been popular in the last few years, or the
pixels in different resolution of digital photography. Another
analogy might be the trio seen as a large quiet organism made
up of millions of restless cells all working together to create
the whole. I think in this way we achieve a kind of
minimal/maximal contrast that I find unique to this trio, one
which is certainly different to any other group playing I do.
TONY BUCK (2005)
Three musicians, from three different continents and three
different backgrounds, happened to be living in Berlin a few
years ago.
Olaf Rupp was born in Saarlouis (near the western edge of
Germany) in 1963. As an autodidact at the age of twelve he
started to play what we might call today Improvised or Instant
Music, and he has always returned there after several
excursions into other fields. In the nineties he mainly played
electric guitar and his own setup of electronics. He has now
come back to the acoustic guitar, developing some traditional
playing techniques (like rasgueados, arpeggios and tremolos) in
such a way that they can be used for new cluster effects to
create density. His use of these sound materials is still
influenced by his experience in electronics. Three solo albums
have been published on FMP and GROB.
Joe Williamson was born in Vancouver (near the western edge of
Canada) in 1970. He studied music at McGill University of
Montreal from 1989 to 1990 and then moved to Europe in 1992
where he lived for three years in Amsterdam, six years in
Berlin, and is now in London for three years.
Tony Buck was born in Sydney (near the eastern edge of
Australia) in 1962. After graduating from the New South Wales
Conservatorium of Music, he became very involved in the jazz
scene in Australia, often touring with visiting international
artists as well as local musicians. Following time spent in
Japan, where he formed PERIL with Otomo Yoshihide and Kato
Hideki, Tony moved to Europe, and has involved himself in many
projects there, including the development of new 'virtual' MIDI
controllers at STEIM in Amsterdam. He is probably best known as
one third of The Necks.
If nothing else, this CD proves that three such diverse
musicians can make superb music together as one.
MARTIN DAVIDSON (2005)
Excerpts from reviews:
"The trio play without any form of amplification or electronic
interference, but their improvisation is so closely-miked that
this certainly doesn't result in any delicate acoustic
dappling. This is exhaustingly exciting music, without any let
-up. It harnesses the thrill of spontaneous ignition. In fact,
this album is going to be one of 2005's very best examples of
improvised music, so striking are its two extended forays into
the world of elaborate density and detailed, accelerated
motion.
During the brilliant Naugahyde, the trio sound like they're
undergoing a furious catering crisis, a kitchen re-organisation
at five times normal speed. They cover a lot of space, with a
very flooded, broad sound. Tony Buck's percussive work is a
marvellously sustained blur of skin-and-metal tinkering,
constantly inventive as he explores timbre, texture and tension
at a frightening rate.
He also finds time (and hands) to shake, scrape and seemingly
drag large objects across a warehouse floor. Joe Williamson's
bass has a gloriously full sound, enveloping the listener as he
bows out thick swathes of deepness. Olaf Rupp is constantly
flashing out filigree runs, little twists and embellishments.
I'd swear that there are shards of Django Reinhardt in there
somewhere...
Buck describes the trio's avowed approach in a sleeve note and,
as it happens, he's exactly right: the trio's music is busy and
compacted, but also operates with the overall effect of a vast,
slowly moving plate of sound. It's as if they're using tiny
details to build a single entity, like an organic colony of
small minds, making up a big intention.
There's an endless joy in scrutinising the sheer variety and
vitality of their palette. This trio sound like they know
exactly what they're doing at every single moment, full of
purposeful detail. The shorter Spandex can't hope to sustain
the power of Naugahyde, but it's probably not designed that
way, being a more reflective, spacious piece. Here, Rupp,
Williamson and Buck are adopting the distant vocabulary of a
jazz trio, albeit mutated and scrambled into a new form."
MARTIN LONGLEY - BBC 2005
(www.emanemdisc.com/E4119.html)
_______________________________________________________________________
01-Naugahyde [34:01]
02-Spandex [23:57]
-------
57:58 min