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Polish-born/German-resident , composer/accordionist Robert Kusiolek has created an arresting concept of sounds, themes and patterns for his debut as a leader. Nuntium features minimal improvisation that draws from modern contemporary and avant-garde aesthetics, as well as jazz and folk and ethnic traditions. All seven cinematic improvisations feature a clear architecture and stress intimate and receptive interplay without sacrificing individual articulation.
"Chapter 1" begins with Klaus Kugel' spare, soothing, resonant percussive sounds, but soon violinist Anton Sjarov's playing and wordless singing add an Indian-tinged element, while Kuisolek's electronics and bassist Ksawery Wójciñski's arco playing add a tension-loaded drone. The following chapter flirts lightly with Astor Piazzolla's nuevo tango, through mysterious short references that provide a lasting emotional impact. "Chapter 3" and "Chapter 4" feature Kusiolek's gift as a leader and an improviser who can convey a nuanced story through his expressive, dramatic playing. Both pieces sound sad but are still delivered with restrained elegance.
"Chapter 5" presents the tight, almost telepathic interplay between Kusiolek and Sjarvo, both of whom can move instantly between minimalist gestures to high-octane dense improvisations, while Wójciñski and Kugel challenge these flights with their own invented chaotic sounds. "Chapter 6" is less intense but still follows a loose structure that patiently accumulates and reveals its clever, minimalist architecture. The classically trained Kusiolek closes this beautifully performed cycle with another mysterious, minimalist piece, often similar in spirit to the opening, proving yet again that even minimalist expressions can tell a rich and detailed story that can linger in the mind and demand many listens.
Track Listing: Chapters 1-7.
Personnel: Robert Kusiolek: accordion, electronics; Anton Sjarov: violin, voice; Ksawery Wójciñski: double bass; Klaus Kugel: drums, percussion, sound-objects.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.