mm squared session | cs306

Algo de equivalente se pode afirmar relativamente ao encontro de trombones ouvido em “MM Squared Session”, juntando Matthias Muller e Matthias Muche. Por maior força de razão: estes dois trombonistas alemães partilham o mesmo primeiro nome, as mesmas iniciais e os apelidos até se assemelham. Aliás, acontece-lhes serem confundidos um com o outro. Reunirem-se para tocar acaba por ser a única hipótese para afirmar que se trata de duas pessoas e não uma só. Na distância que percorrem entre os mais primários dos burburismos e complicados multifónicos que quase parecem de produção electrónica (como se um estivesse a processar o outro em tempo real) afirmam-se duas visões concomitantes.
A música é espessa, com ressonâncias de caverna, ora compactando uma profusão de materiais ora deixando um sopro em suspenso, como uma gota de água que se transforma em estalactite. Tudo é improvisado, mas os caminhos que se percorrem lembram as músicas escritas de Sciarrino e Lachenmann, nomes da contemporaneidade erudita. É o som, a investigação das propriedades internas do som, não a forma, que predomina. Rui Eduardo Paes (Jazz.pt)

De même, il n’y a pas à ma connaissance, un duo de trombonistes improvisateurs d’envergure qui mettent ainsi en commun leur savoir-faire, leurs recherches, leurs qualités d’écoute dans un aussi bel album que MM Squared Session. Voilà qui est digne des Rutherford, Christmann, Malfatti, Hubweber, Brand et consorts. Les deux Matthias, Muche et Müller, optimisent les ressources sonores du trombone avec une complémentarité aboutie dans une veine plus introspective que le discours rutilant des frères Bauer, si peux me permettre de faire une comparaison. Leur duo vaut vraiment le détour et s’impose comme un témoignage majeur à la suite du génial The Gentle Harm of the Bourgeoisie de Paul Rutherford, des Trombone Solos de Gunther Christmann (label CS, vinyle introuvable des 70’s) ou du Tromboneos de Paul Hubweber. Le fait qu’une connivence s’instaure sur le même instrument amplifie la saveur des trouvailles. Les deux musiciens s’enrichissent mutuellement créant une architecture sonore dans l’espace, un fascinant mécano tactile et vibratoire du souffle et de l’embouchure. C’est assez rare pour être souligné. Donc Matthias Muche et Matthias Müller : duo à écouter si on pense que les innovations de l’improvisation libre « européenne » passent par le trombone, un des instruments clés de la libération des sons. Jean-Michel van Schouwburg (Orynx)

Like a florid rodeo clown who only reveals the true purpose of his job as a paramedic if necessary, a trombonist’s ability to express broad emotions with his horn often masks the instrument’s cerebral ability. But without eschewing the brass instruments connective and conceptive role, the trombonists here – a German trombone duo and a French technician leading a bass and drum trio – demonstrate the instrument’s sonic elasticity.

If Robert and company’s disc is the equivalent of attending the appearances of actors who are as likely to animate a TV commercial, as Chekov, then MM Squared Session is the equivalent to dedicating your evening to avant-garde theatre. Two of Germany’s most accomplished trombonists, Berlin’s Matthias Müller and Köln’s Matthias Muche have created a two-hander with the idea of alluding to any extended technique and tones capable of being produced by their instruments. Since two modern sackbuts are involved, it’s impossible to tell who plays what. But the impression is like seeing Ian McKellen and Patrick Stewart performing Waiting for Godot in full make up. The play’s the thing; not who performs it.

[…] Müller and Muche are more akin to Beat poets Gregory Corso and Allen Ginsberg on this CD at least. MM Squared Session’s four sound poems are designed to stretch the trombone language as much as the Beats did so with English language imagery. Unlike versifiers who work alone, the German brass men are able to ricochet concepts off each other and respond in kind to each other’s sonic suggestions. Most of the time however, their improvisations ignore the comfortable middle-range, choosing instead to concentrate on near-luminous puffs, cacophonous staccato breaks or low-pitched grumbles. The effect is sometimes like experiencing the aftershock of a hurricane. But M&M are so attuned to each others’ creativity that the oscillated buzzes, often forced through their horns without valve movement are reminiscent of waves fusing to create a choppy sea, and then gradually calming. That concept is put to good use on “Ma”.
Gentler meteorological readings result from “Mu” however. Escalating from distant buzzes to harsh blats the brass players come on like conjoined twins with the same nervous system. Flat-line burrs drip from one corpus to the other eventually creating almost opaque slurs that satisfy. It’s as if crazy glue has locked together two half of a painted portrait. This same sort of cooperation is evident on the extended “Tti”. Yet the genuine excitement engendered as M&M rupture the preceding low-key face off between toad-like crocking from one trombonist and rugged gusts from the other to determine who can blow out the largest volume of unaccented air. The finale funds both operating like twin harnessed steeds moving a carriage in tandem.
Renaissance trombones were known as sackbuts. But there’s a whole bag of modern tricks on display here via three contemporary trombone stylists. Ken Waxman (JazzWord)