Alexander von Schlippenbach: Twenty Minutes
All About Jazz: I want to start off asking you about this tour. You've been playing with Eddie and Joe Williamson and Alan Wilkinson.
Alexander von Schlippenbach: Actually, I know Joe Williamsonwe've played a few times before in Berlin a few years ago, then we did something with the Swedish drummer Sven-Ake Johanssonbut I've never played with Eddie or with Alan Wilkinson, this is the first time.
AAJ: Eddie, Joe and Alan play together as a trio. How was it for you to come in and join a unit like that, who knew each other fairly well?
AvS: It wasn't so difficult, because I saw them before when they all played together, so I could check them beforethe sound and a little bit of the style and so onand apart from that, we are from the same background. Our improvising was developed by playing more jazz. I think there's a good understanding. This is not always the casebut there were only three concerts, and every night we were feeling more and more together.
AAJ: So over the course of the week you were getting to know each other...
AvS: This is always the case. Find out together...
AAJ: What effect does that have on the music? Did the music change over the week as you got to know each other?
AvS: Yes. I think it got steadily more quality, I would say.
AAJ: You said you had a common history with the jazz vocabulary...
AvS: Eddie and myself, we are older than the others. I know we have so much in common, with musicians we have played with. We have both played with musicians such as Brotzmann. It was an easy understanding I would say.
AAJ: It is a complete contrast with your trio with Evan and Paul Lovens, but ostensibly the music is quite similar....
AvS: If you speak of that trio, it is over thirty years now and we play every year a few times and we make one tour regularly together, so there is a long story behind it. Of course, there is a veryhow shall I saystable bottom to the music we play. We can get very quickly into it and know more or less what we can do because of this long experience. That is why we can go on from another point rather than someone who never played together.
There is also a good thing about a complete unknown. There is a complete difference. It can be very nice because there is no expectation, no knowledge about each other. There can be surprises. But the problem is that it can happen or it cannot happen. There is always a good excuse if it does not happen. It depends on luck. Maybe there are musicians on the same level and if you could just get improvisers together it can be surprisingly good.
AAJ: You say that in a new grouping there is the potential for surprises; do you ever get surprises from Evan and Paul?
AvS: No. I don't get surprises. They are coming slowly, that is the good thing about them. I don't necessarily need surprises that are... [AAJ: Shocks?] yes, that shocks me. I see something coming and if I can catch the basic idea I can maybe do something with it. Then what comes out is the real surprise.
AAJ: So they might do new things, but you can see them coming.
AvS: Yes, yes.
align=center> Alexander von Schlippenbach Trio
AAJ: You tour with them annually, your winter tour. On Winterreise, your album on Psi, it says that on tour you listened to Dizzy Gillespie, Sonny Rollins, Freddie Redd. Does the music you listen to on tour influence your playing?
AvS: I think it influences our playing. We don't imitate the music; we don't play in the style of classical bebop but the spirit of it is something that influences us somehow, adds something to the music.
AAJ: So it shapes your thinking in some intangible way?
AvS: Yes. We are a free jazz group. We are not just improvisers. We learn to play, improvising from jazz.
AAJ: And the group you've played with this week, is that free jazz? Where's the boundary.
AvS: I'd say it is free jazz.
AAJ: Is it always free jazz?
AvS: It's not always free jazz; Eddie, for example, has another sideline, different people. This is traditional jazz territory. It depends on the combination of people who play. I think it was more free jazz than just improvising.
AAJ: So what is it that sometimes makes what you play free jazz and sometimes improvisation? Is it who you are playing with? Or is it something in your head that you can say, "Today, I'm a free jazz player"?
AvS: There are many possibilities. I mean, maybe I have an idea for a project that is not so much about jazz. I mean for instance we did something with Sven[-Ake Johansson] recently, where he does improvised lyrics; he was improvising on texts and fragments of early Paul Klee. We found the book and then a little chamber group tried to do something with that, with not so much drums. It was improvised. Most of the players were jazz players as well. This makes it special. But you see you can have the two sides nowadays in the music, because contemporary music influenced jazz a lot.
(This comment from Schlippenbach led on to a discussion of his two solo albums Twelve Tone Tales Vol. I and Vol. II (Intakt, 2007) on which he achieved a synthesis between twelve tone compositions and free improvisation, a synthesis that sounds both fresh and unforced. The albums also include such pieces as Eric Dolphy's "Out There," Jerome Kern's "All The Things You Are" and Monk's "Trinkle Trinkle," but the highlights are the four Schlippenbach compositions entitled "Twelve Tone Tones I to IV.")