Nik Bartsch's Ronin: Llyria (2010)
Holon (ECM, 2008), the Swiss band's second recording for the German label, loosened some of the bolts on the machinery. The music still felt half human/half machinelike sounds made by science fiction cyborgsbut the human/organic side was asserting itself more. Sha, the group's reedman, shelved the ponderous (in a good sense of the word) contrabass clarinet for alto saxophone and regular bass clarinet, and the group's signature soundstill getting deep into repetition and groovesopened up and breathed more, while keeping its trance-inducing qualities.
Where Holon was a small evolutionary step away from Stoa, Llyría takes a leap. "Modul 48," opens with the leader's chiming, singing single notes on the piano then drifts into a cool, near-orchestral sound as the ensemble breathes in, with a collective approach that is pastoral and pretty, more reminiscent of Jan Garbarek than Stoa.
"Modul 52" works more into the groove/repetition mode, with a slapping percussion and mesmerizing melody, and "Modul 55" blows into darker, music-from-the-shadows territory on Sha's bass clarinet, then brightens as the reedman shifts to a higher register, drawing the light in through a dark canopy.
"Modul 55" slows the momentum into a deliberate, meditative mood, highlighting a collective nature of this music that doesn't lend itself to dissection of individual contributions. Every sound fits in the concept of the collective wholethrough-composed but with an increasingly organic flexibility. In pianist Bärtsch's words: "The band has to discover the right tension and suitable dramatic structure for the piece on the spur of the moment."
With Llyría, it sounds very much as if they've done just that.
Track Listing: Modul 48; Modul 52; Modul 55; modul 4; Modul 53; Modul 51; Modul 49_44.
Personnel: Nik Bartsch: piano; Sha: bass clarinet, alto saxophone; Bjorn Meyer: bass; Kasper Rast: drums; Andi Pupato: percussion.
Record Label: ECM Records
Style: Modern Jazz