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Introduction

After a mind blowing concert and despite multiple hesitations, here it comes. Ideas, thoughts, and whatever i think of these days, and what I think you or maybe someone else should know about.

Above all, I am curious to see, if it will grow into something.

Hope you will stick with me despite my writing sometimes in another than my mother tongue. For me, it’s important to do so, as some things are better expressed in the language I experienced them in, even if it means that I might unwittingly bend the beauty of the original language to something of my making. May the language and you my dear reader, forgive me for doing so. I decided to try writing by one of my life’s maximes : perfect cannot evolve any further.

 

John Parish

Moods, Zurich, 24.11.2018

Afer a sunny late autumn day in the city, I and some others had decided that this was a Saturday to go to a concert, and as I do like the so called grey eminence’s of the music business work, I went to check John Paris out with his own band.

Great songs, great set and great people on stage. Loved the show, appreciated the “literal” encore and had a good night out…

or close to….

I seem to not happily fit in with the attitude of Saturday night crowds … I just can’t figure out what’s so appealing about going out to be seen and heard. and why not going to a bar or club for that? why bother to go to a concert, if you’re on another trip? anyway, to be fair, it would be judging the whole crowd by a bad example, to be fair I cannot say much of the crowd that night in the Moods as such. I just could not manage to blend out that close-to-copulating couple of quads sitting or rather fidgeting around right in front of me. I tried as hard as I could to focus on what was going on on stage instead. I closed my eyes more than not so not see, but hey, I was at a live concert and I wanted to see the musicians performance too. anyway, these two’s constant licking, leaning into each other, grabbing and roaring courting got definitely on my nerves, and will overshadow the concert once and for all. When I offered myself a tension release in the form of a glass of red wine at the bar after the show, guess what? I could just not believe it when they sat right next to me, about half a sip into my wine, ordering more drinks. Jeez, it was one of these moments where I wished to have the guts to unceremoniously and be simply but efficiently  “maladroit” and to tip my glass of red and spoil her dress with it, or maybe better his too tight jeans?… Anyway, as at the same time I believe that’s what wars are made of, I groaned out lout, withdrew to a chair in the venue, and moaned over it to a friend of mine. and then, I went home instead. still, you guys, why the hell did you have to go to the same concert as me?

Andere Saiten

Moods Zürich, 20.11.2018

String variations for a change. 4 Swiss musicians who call themselves the Kaleidoscope String Quartet on 2 violins, a viola and a cello brought their compositions and quite a few ones made for them to the Moods that evening. It was a very welcome change of mood and tunes, and it was all but classic, even though the inspiration was clear.

I enjoyed it very much, but did not get emotionally drawn in. My ears had a great time, but I had like too much time to think. So me, I was only part there… it was definitely a group I would recommend to anyone interested in hearing some modern strings, because they were good and had a good time playing.

Now

Rost + Gold, Zürich, 17.11.2018

Töne im Rost + Gold haben einmal mehr einen Novembersamstagabend farbig verwandelt. Neues ist dazugekommen und es hat auch dem Besuch gefallen.

In veränderter Formation hat Renzo Spotti am Tenor-Saxophon mit Fridolin Blumer am Bass und Elmar Frey viel Eigenes gespielt und auch damit einfach überzeugt und immer wieder ein paar innere Saiten anklingen lassen.  Das originelle Dekor vom einzigartigen Rost+Gold hat zum Wohlfühlambiente mit gutem Jazz beigetragen.

Aaron Parks & Little Big

Moods, Zürich, 15.11.2018

Once more, a name stuck because I appreciated him playing with a different band, and had decided to go for checking this other project of his out too. It proved to be different, but of as high quality as James Farm.

I seem to lack adverbs, the first set was intense. I enjoyed the builing up of tension and the musicians playing as one band, each instrument contributing its unmissable part to a psychedelic piece of music. It felt like another different language to my ears, somehow they managed to capture me all over.

The second set was a little jazzier, more of what I had expected and even if not as intense as the first, it was still a great and enjoyable set too.

The four musicians were: Aaron Parks on piano and Fender Rhodes, Greg Tuohey on guitar, Anders Christensen living the bass, and Tommy Crane drumming away as if on the run. 

Made it despite all odds

Moods, Zürich, 13.11.2018

After a day off, I planned to grab a good seat and read a bit with a glass of wine hanging in Moods. I was not the only one who was pretty surprised to see a long queue in front of the door when arriving well after opening hour. Good job I grabbed out of reflex for my ticket, and, realized in time that… I must have forgotten it at home. Darn, turned out to be one of these days. After only a second of hesitating, I hurried back home, optimized transports and was on return, hoping for my luck to find the band not having started yet.

Turns out, that I had not been the only one with some difficulties in getting to the venue. After I had found an ideal seat pretty much in front, we were presented by the announcer with excuses for a late opening. The reason being a knackered but pretty happy and definitely very professional band who had missed their flight and instead driven all the way from Bruxelles to Zurich. They had just managed to get through sound-check and then go live for their public. Well done guys!!!

Antonio Sanchez and Migration played one single set, all through. The intense songs, in the beginning made me very much want to relisten to Garbarek again, I later overheard someone in the public treating them as “more esoteric”.  Adding speed and rhythms, again and again, the density grew with sounds, rhythms and many dialogues between the musicians, and, I felt transported into a three dimensional giant warren wandering in different and evolving rooms, to and fro and around, feeling completely safe and being astonished at every corner. All these sounds were set free through the instruments and then propagated throughout and through me.

It also felt as if in this band all came in twofolds: John Escreet on piano and fender rhodes, often playing one with the right and the other with left hand, Matt Brewer on classic and electric bass was far more present than only assuring the back, Thana Alexa on vocals and effects and Chais Baird on tenor saxophone and EWI. oh, and last but no least or rather at the core of it all, there was the mighty Antonio Sanchez playing his drums as there were two of him. Seems that all of them have their own projects, so go and check them out separately as well.

 

Guitar master

Moods, Zürich, 8.11.2018

John Scofield’s Combo 66

A guitar master and his band made me simply feel well again. I spent the first set standing just behind the drummer, nearly on stage in pretty full house. It felt kind of being part of the music and it allowed me to be right in the music. After the break i swapped places with a guy who danced and got even honored for being the world’s best jazz dancer by John Scofield.

For me and in my ears, this band was lead by a great master on the guitar, the dying amp only slightly diminished the pleasure, if it didn’t transform the moment into something more real and intense, as it looked like a challenge for them. The professionals they are, they managed to keep it going and it was simply great. John Scofiled and Combo 66 are: Bill Stewart, skillful and fast drummer doing magic, Vicente Archer on bass spot on and Gerald Clayton as rhythmic and precious as his beating colleague was on piano and hammond. Big jazz.

And lucky me who had another chance to listen to such great musicians.

Deep throat singing

Moods, Zürich, 3.11.2018

On Saturday, after a visit at the Kunstmuseum in Zürich with a friend of mine, we attended a moment of high skills and pretty different music. Huun-Huur-Tu, a band from Siberia, close to Mongolia, is composed of four men in traditional outfit bringing us their traditional music. The explanations were given in a beautiful and very set way. I was stunned what sound they manage to produce with their traditional instruments and with the unique and special deep throat singing. The friend i brought along spent a gorgeous evening too, and we both left the intense concert very pleased and intrigued. Hope to make it to that corner of the world to see the landscapes they got inspired by soon.