Shogo Seifert Rauke: Causes of Imagination

Berlin-based trumpeter Shogo Seifert, an artist of of German Japanese lineage. unveils his debut album Causes of Imagination with his ensemble Rauke, a curious octet that marries the nimble spontaneity of a jazz quartet to the lush emotive sweep of a string quartet. Released under the Jazz Thing Next Generation series by Double Moon Records, this record offers a sonic tapestry that is as intriguing as its title suggests. Seifert, a Berlin-based artist with a penchant for intuitive creation, sidesteps the mechanical rigidity of overly technical composition, opting instead for an emotional resonance that pulses through each track like a well-timed heartbeat.

The jazz quartet, comprising pianist Arseny Rykov, bassist Vincent Niessen, drummer Johannes Metzger, and Seifert himself, lays a foundation that is both sturdy and supple, while the string quartet—Alexandra Buchmüller, Almut Wolfart, Philine Höhnisch, and Mathilde Vendramin—adds a layer of sophistication that elevates the proceedings without tipping into pretension. It is a balancing act worthy of a tightrope walker, and Seifert navigates it with the ease of a man who knows his way around both a horn and a clever idea.

The album opens with "USO," a piece that sets the tone with a delicate interplay between Seifert's trumpet, strings, and piano, a conversation that feels less like a debate and more like a dance between old lovers who have not forgotten their steps, counterbalanced by Rykov's fluent synth solo. Here, the band's gradual ascension adds an exciting element framed by Metzger's springy drumming.

What stands out most is Seifert's refusal to let the music calcify into predictable patterns. Tracks like "Arakawa" shimmer with a worldly flair via a pulsating discourse contrasted by the pianist's agile voicings and melodic intervals, while "W(Hole)" unfolds with a pastoral grace that suggests the strings have been whispering secrets to the rhythm section. However, "Lina" is the album's intellectual core, a sprawling, slow waltz-like meditation leading to a bustling piano-led thematic foray. Seifert's trumpet work is the star here, weaving through the compositions with a tone that is warm, piercing, and occasionally mischievous, like a guest who arrives late to the party but charms everyone in the room. The ensemble follows his lead with a cohesion that belies the complexity of blending two quartets into a unified whole. Rykov's luminous piano work sparkles, complete with fervent soloing and a firmly designed modus operandi. Moreover, Niessen's bass anchors the affair with quiet authority and limber support, and Metzger's drumming provides just enough propulsion to keep things lively without overwhelming the strings, which sigh and soar in equal measure.

Causes of Imagination is not just a promising first step; it is a bold declaration from an artist who prefers feeling over formula and intuition over instruction.