As the debut recording for the German based Nemu label, the
Syntopia Quartet establishes the identity of the label, while suggesting the European free jazz scene is far from muted or passé. Much like the FMP label documented the German improvising scene -- exemplified by
Karl Berger,
Peter Brötzmann, and
Alexander von Schlippenbach -- drummer
Klaus Kugel, who is one fourth of
Syntopia and the main producer who launched Nemu, is looking to reinvent the sounds FMP established. Crossing borders of style, taste, European classicism, world or ethnic sounds, and a modern creative ethos that is more in tune with accessibility for a wider audience, Nemu and
Syntopia are making truly new music. The fine players
Kugel has chosen, especially violinist
Albrecht Maurer and clarinetist
Claudio Puntin, achieve this. They showcase unique approaches to their instruments apart from similar American musicians like
Billy Bang or
Chris Speed.
Maurer is a fluid player who does not rely on hard line dissonance or over-stressed harmonics.
Puntin, especially effective on bass clarinet, has a multi-dimensional attitude that is ultimately flexible as he displays a canny ability to listen to his bandmates and fits in beautifully. All of the characteristics stated fuse and meld on these imaginary journeys to the Red Planet. The opener "Goodbye Earth" launches the band into a somber mood, very crafted, Euro-centric, and warily headed for the unknown. "Chryse Planitia" is a dark, spooky place, warned by
Puntin's clarinet to explore slowly and carefully, while "Elysium Planitia" has
Maurer's skittering violin in starburst, then working with
Puntin in a beautiful discourse. "Valles Marineris" is a multiple mood piece, first peaceful discovering didgeridoos in space, and enhanced by an unexpected scat vocal. This is one interesting scientific expedition. The spacy intro of "Olympus Mons" leads to a spirited 7/8 dance body, while the sturdy violin of
Maurer during "Newton Basin" gives a feeling of landing and scoping out terrain, insistent and rhythmic but a bit noisy. "Chasma Boreale" is free and spatial, a nebula based sound painting darting between stars, while "Back to Earth" is a loose, somewhat bumpy re-entry, accented by that lofty feeling one gets what a slowing airplane approaches, and circles above before landing, arrives safely with a Jew's harp reception, then rests. This feeling of exploration, inquisitiveness, cartoonish chase, bold, playful prediction, fascinating discovery, and then party after touchdown is perfectly depicted. It's quite a trip, and an affordable ride
Syntopia offers on what hopefully will be the first of many equatorial, terrestrial, and celestial excursions.