Irene Schweizer: Ramifications


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I was suffering sometimes; they all respected what I did as a musician, and I could feel that. But I had to cope with them and sometimes I didn
Irene Schweizer One of the leading exponents of free piano playing in Europe from the late 1960s onward, Swiss-born Irène Schweizer occupied a somewhat lonely place in the high-energy FMP canon as she worked with Peter Kowald, Evan Parker, Manfred Schoof, the Wuppertal reedman Rüdiger Carl and others in European free improvisation's heyday. Renowned as a soloist and for her duets with many of today's most innovative percussionists, she also co-led the Feminist Improvising Group in the 1980s and the trio Les Diaboliques (with bassist Joelle Lèandre and vocalist Maggie Nichols) from the 1990s onward. Her highly percussive and volcanic improvisations, coupled with a penchant for playing inside the piano, preparing the instrument and using other aleatory techniques, has made her a wide-palette partner for free musicians from trombonist Radu Malfatti to tenor man Fred Anderson.

Schweizer was born July 2, 1941 in the Rhine valley near the German border. "I grew up in a restaurant. My parents owned a restaurant in Shaffhausen, Switzerland. My older sister played classical piano; she took lessons, and I started to play accordion at the age of eight or nine. Later on my father gave me a Christmas present of a piano-accordion. So I started to play this piano-accordion but it didn't fit; it was too big for me and I didn't like to play the piano in this funny way! She switched to piano soon after as the family apartment took on a vibrant life after the war: "We had a lot of dance evenings where big bands came to play. We had theatre performances there; it was quite a big room upstairs—we had weddings, funerals, banquets. We had a lot happening there—my father was a cook.

In the 1950s, falling in love with the cool-jazz and Dixieland bands that rehearsed in their apartment, the primarily self-taught Schweizer began sitting in locally and soon had her own groups. "We had a quintet when I was eighteen years old. We were called The Crazy Stokers [laughs], and we were a mainstream group—not really Dixieland, but on the edge of modern jazz. With this quintet we played a lot in Switzerland, in Shaffhausen and in other places. Later on I had a group called the Modern Jazz Preachers; we were copying Horace Silver and Art Blakey's Jazz Messengers—those were our idols. Schweizer's influences then were those players with a strong left hand—Erroll Garner, Mary Lou Williams, Horace Silver, Bobby Timmons and Junior Mance.

Irene Schweizer

Her trio of the 1960s, though documented only on an LP issued in the 1980s on FMP (The Early Tapes), and as the rhythm section for Manfred Schoof and Barney Wilen on the Jazz Meets India LP (Saba, 1967), was Schweizer's entrée into free jazz. Though Ornette Coleman, Cecil Taylor and John Coltrane were in the air, the Paul Bley Trio was also a heavy influence: "I took home a record of Paul Bley and thought, 'Oh my god, this is such great music!' We started to slowly come off the functional harmonics of the time period and, when we rehearsed, during one rehearsal we just realized we had no time anymore and no theme, and we just played—that was the beginning of free improvising for us. With bassist Uli Trepte and drummer Mani Neumeier (both later of the Krautrock band Guru Guru, with guitarist Axl Genrich), the trio toured extensively in Europe until dissolving around 1968.

Shortly after that group's termination, she met drummer Pierre Favre at the Montreux Jazz Festival and they began rehearsing in the Paiste factory, where he worked as a drum technician (Schweizer became his secretary). "We had a room with a big grand piano and a lot of drums and cymbals all over, and every day we played together. So the Pierre Favre Trio was born. With bassists George Mraz and Peter Kowald, and later adding saxophonists Evan Parker, Trevor Watts and Gerd Dudek, and trumpeter/guitarist Jürgen Grau, the group was very active on the European scene into the early 1970s. With Kowald, they cut the blueprint for an explosively deconstructed piano-bass-drums trio, Santana, for their own PIP label in 1968. That same year, Wergo released the quartet version (with Evan Parker) on LP, a steamrolling blast of Western European energy that was in direct homage to the Coltrane Quartet, but with its own geographic fires being lit.


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