superimpose |cs092

Superimpose (cs 092) enthält sechs Dialoge des Posaunisten MATTHIAS MÜLLER (Bhavan, The Camatta, *1971, Zeven) und des Drummers CHRISTIAN MARIEN (ex-Bloomington, Kapelye Ziganoff, Jahrgang 1975), miteinander vertrauten Partnern im
Berliner Quintett Olaf Ton. Blubbern, durch Dämpfer abgeschattetes Knören und Schmauchen amalgamiert mit vierdimensional hingetüpfeltem Pochen, nadelndem Klimpern und flinkem Gerappel zu geräuschhaften, aber doch auch launigen Molekularbewegungen.
Von Nahezustillstand und gedämpftem Gefurzel bis zu spritzigen und spotzenden Kollisionen und Querschlägern wird so gut wie alles geboten, wozu Schlag- und Mundwerk in der Lage sind. Rigobert Dittmann (Bad Alchemy)

Again, new names for Touching Extremes - and, given my immediate liking of “Superimpose”, very welcome on these shores. Nothing found on Müller - a trombonist gifted with a style full of humour, fantasy and, in a way, delicacy; instead, Marien is described as a frequent collaborator in various projects (among the many, the wonderfully named Olaf Ton), an explorer of the “intersection of music and urban calligraphy” in Ritsche&Zast and “Hip Hop and Turkish folklore” in Triple Destan. Pretty mysterious stuff really, awaking my curiousity. Two instruments only; this could make us think about a certain timbral uniformity, and indeed the overall palette of this CD is quite delineated. Yet the constant change of rhythms and accents upon which the duo relies is sufficient to cause an explicit statement of scarce controllability. These guys can play while looking for holes to fill, and they do fill them with large doses of almost tangible inventiveness. Improbable dances and bizarre turns of events ruffle normality until the music becomes a slippery pavement where falling provokes laughter, not harm. There’s a joyful feeling at work in most of the tracks, perceivable at a first try. That positive energy is exactly what propels these six improvisations, flirtatious winks to well-disposed people able to understand when a player puts technique at the service of fun. A lively, solid effort - and not for a moment heavy on the ears. Massimo Ricci (Touching Extremes)

Put aside any conventional concept of sonic beauty when listening to this provocative horn-plus-percussion CD. As a matter of fact, tolerance for sonic brutality might be a quality to bring to the disc – along with an appreciation for the unexpected.
Noisy, clamorous and blaring are the adjectives that are best attributed to this dual German duet, although just like no two snowflakes are the same, no two harsh noises are indistinguishable either. On Superimpose the players are trombonist Matthias Müller and drummer Christian Marien on a diabolical busman’s holiday from their regular gigs. Both are members of the jokey and jolly Olaf Ton band; the drummer also collaborates with dancers, hip-hoppers and performance artists; the trombonist is also involved with avant-garde theatre and dance groups and teaches trombone in Dresden.
[...] Only slightly less clangorous, Superimpose’s six tracks may sound the way they do because Müller’s subterranean plunger work, braying tones and throat rumbles can’t replicate the continuous piercing shrillness of a reed. But that’s not for lack of trying. Still in mid-range his wide bell space and tongue manipulation allows the absolute sound of air currents and chromatic note clusters to be heard.
For his part, Marien doesn’t take a back seat to Schliemann when it comes to cacophony. Little ruffling or nerve beats are on display when the percussionist can repeatedly rattle what seems to be an aluminum pie plate; trigger the equivalent of single revolver blasts with a pointed drumstick; or produce seamless, reverberations to break up the beat from floor toms and snare; plus create sputtering and hissing decorations from the cymbals.
Tightrope walking on the divide between noise and non-noise, this duo create notable provocative sounds. The point where they can be admired as much as accepted depends on the listeners’ adventurousness. Ken Waxman (JazzWord)

Witty acoustic improv from this duo on trombone and percussion. Müller is a suprisingly sly player with an extensive vocabulary, from weird breathy jumbling to long twisting and joyous runs. Marien plays in, around, under and on the drums, generally preferring the sound of toms, and deftly underplaying the moment while keeping the music active and unexpected. Müller and Marien have worked together extensively through the 2000s, in bands Olaf Ton, Carnivals of Souls, Super 700, and Supernova. Phil Zampino (The Squid's Ear)

Paul Rutherford s’en est allé et Radu Malfatti est devenu … quasi silencieux. Qu’à cela ne tienne ! Votre serviteur vous avait entretenu des immenses mérites de Paul Hubweber. Et voici que je découvre cet excellent tromboniste qu’est Matthias Müller. Superimpose, évoque un peu l’esprit de When I Say Slowly, I Mean As Soon As Possible (Po Torch), le légendaire lp en duo de Paul Rutherford et Paul Lovens ou mieux To Fall Victim of an Ice Cream (L’Orchestra), l’album méconnu de Paul avec Tony Rusconi, un batteur plus « conventionnel » que l’homme à la cravate et aux pantoufles usées. Christian Marien est, lui, un percussionniste remarquable, sans doute issu du jazz. Il joue en parfaite empathie avec le tromboniste, créant tous deux des échanges chaleureux, subtils et énergiques basés sur une activité polyrythmique requérante. Bien qu’on aurait aimé un peu plus d’imprévu et un plongeon vers l’inconnu ou plus de risques, les duettistes feront passer un bon moment à qui voudra tendre l’oreille. C’est bien le principal. Jean-Michel van Schouwburg (Improjazz)