Stemeseder Lillinger Quartet feat. Peter Evans & Russell Hall: Umbra II

Imagine a musical universe where jazz's avant-garde explorers join forces with the precision of Swiss watchmakers. In this paradoxical realm, the Stemeseder Lillinger Quartet thrives, crafting intricate sonic tapestries that defy conventional melodic structures. At the helm of this audacious ensemble are Elias Stemeseder (piano) and Christian Lillinger (drums), two maverick minds whose collaborative chemistry could power a small city. The Quartet features Russell Hall (bass) and Peter Evans (trumpet), crafting a complex and intriguing follow-up album with Umbra II. Adding to the album's allure, it was recorded at the legendary Rudy Van Gelder Studio, known for its historic significance in jazz.

"Myokard" highlights the quartet's ability to create an atmosphere that is mysterious and inviting. Stemeseder's piano lines are haunting and beautiful, weaving in and out of the shadows cast by Lillinger's nuanced drumming amid a subtly ascending groove and brash outbreaks via Evans' gravelly tone and bold statements. Moreover, Hall's bass and Evans' trumpet add to the sense of intrigue, creating a soundscape that is as captivating as a late-night noir film. If music had a Hitchcockian twist, this track would be it.

"Blendung" offers a change of pace with its more reflective and contemplative mood. Stemeseder's piano takes on a more lyrical quality, supported by Russell Hall's gently pulsing bass and arco lines with Lillinger's understated drumming. Evans' trumpet adds a touch of melancholy, creating a piece that is as introspective as it is charming. It is a moment of calm amidst the storm, like finding a quiet corner in a bustling city.

On "Mandelbrot Sagittar," the quartet's interplay is among its finest here, with each member contributing to a tapestry of sound that is both intricate and harmonious. Stemeseder's piano and Evans' trumpet engage in a playful dialogue, while Russell Hall's bass and Lillinger's drums provide the asymmetrical rhythmic backbone. It takes the listener on a journey through light and shadow, via restrained chaos, tranquility and exuberance. Yet "STKH pt. III" begins with the drummer's off- centered tom patterns and the trumpeter's sharp-edged lines, countered by the rhythm section's turbulent movements.

With Umbra II, the group have created an album that is as unpredictable as a jazz cat on a hot tin roof, constantly surprising us with its twists and turns. The quartet's fearless experimentation and boundless creativity offer a refreshing departure from the formulaic sounds that dominate the airwaves. Just remember, this is not music for the faint of heart—it is a sonic rollercoaster that promises thrills, chills and a few "Did they really just do that?" moments. And that, dear listener, is where the true beauty lies.

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