RT 9348 (2013)

9 Compositions for The Multiple Joy[ce] Ensemble
Matthias Schubert

Scott Fields – Guitar
Elisabeth Fügemann – Cello
Sebastian Gramss – Contrabass
Frank Gratkowski – Alto Saxophone
Carl Ludwig Hübsch – Tuba
Axel Lindner – Violin
Udo Moll – Trumpet
Matthias Muche – Trombone
Matthias Schubert – Conductor
Angelika Sheridan – Flute
Holger Werner – Clarinet
Phillip Zoubek – Piano

1 Conlon Zoubeck 3:34
2 Moose 13:36
3 Anthonykowski 5:33
4 Duke Muche 5:08
5 Frith Fields 3:47
6 Boulevinsky 5:00
7 Ende der Zeit 7:54
8 Akkordstudie 8:39
9 John Müller 5:17

Recorded 20.12.2012 at Loft Wissmannstr. 30 50823 Köln Germany



1 Conlon Zoubeck, dedicated to Conlon Nancarrow, is a miniature beginning from the middle of the piano keyboard and culminating at its most outer points. The soloist is Phillip Zoubeck.

2 Moose is dedicated to composer Helmut Lachenmann and trumpeter Axel Dorner. One hundred and ten sound effects stride through extreme sound panoramas, evoking allusions to a nature morte. Soloist Udo Moll plays on a prepared trumpet.

3 Anthonykowski is dedicated to Anthony Braxton. A 4-layer orchestration is followed by a 4-
layer improvisation. The soloist is Frank Gratkowski.

4 Duke Muche is dedicated to Billy Strayhorn and Duke Ellington. Matthias Muche takes the solo.

5 Frith Fields, a dedication to Fred Frith, is a non-interactive improvisation between fortissimo
and pianissimo with an alternating time construction.

6 Boulevinsky is dedicated to Pierre Boulez and Igor Stravinsky. The soloist is Holger Werner.

7 Ende der Zeit is inspired by Olivier Messiaen’s Quatuor Pour La Fin Du Temps, Louange à l'Eternité de Jésus. It has the same sequence of notes as Boulevinsky but is way slower. The Soloist here is Axel Lindner.

8 Akkordstudie is a study of the final chord of Ende der Zeit.

9 John Müller features soloist Angelika Sheridan on flute. It is a dedication to John Cage and flutist Hans Martin Müller.




Glenn Astarita - All About Jazz

Featuring an international cast, Matthias Schubert conducts a program that snugly resides in the avant-garde space. Each track is outlined in the liners, citing connotations, inspirations and homages, where it's up to the listener to connect the dots via his or her interpretations. It's a hybrid offering engineered with asymmetrical parts of classical, jazz improvisation, John Cage-like indeterminacy and neo-minimalism.

"Conlon Zoubeck" features pianist Phillip Zoubeck's off- center manipulations that could be categorized as a song-form designed on busy minimalism via staggered flows, unanticipated delays and ricocheting effects, seguing into a hectic foray. Throughout the album diversity is a key aspect. For example, on "Anthonykowski" Schubert pays homage to new-jazz pioneer Anthony Braxton, which as the leader cites, is a "4-layer orchestration followed by a 4-layer improvisation." Eminent alto saxophonist Frank Gratkowski is the soloist, as the ensemble executes a geometric sequence of progressions amid countering sub-themes (layers). At times angular and gruff, Schubert provides a cunning muse of Braxton's multifarious compositional structures.

The piece "Frith Fields" is dedicated to legendary avant- garde and progressive rock guitarist Fred Frith (Henry Cow), propagated by guitarist Scott Fields' slightly distorted and steely lines, performed on electric guitar. Schubert coins this as a non-interactive improvisation, devised with alternating time signatures. Essentially, the ensemble stops, starts and refreshes the activities with a discordant line of attack. And the program is consummated on the flighty, sullen and capacious "John Muller," which is dedicated to renegade music theorist John Cage and flutist Hans Martin Muller. Here, Angelika Sheriden's flute lines project a fluctuating discourse, treated with the instrumentalists' strange effects and responses, such as a subtle pluck of a bass string and barely audible string scraping exercises. Indeed, Schubert's ubiquitous viewpoints elicit food for thought via these hugely contrasting musical statements that may prompt the listener to wonder what other curveballs or oddities may surface along the way.

All About Jazz