MP3 Play Station 6 - #1
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13 MP3 Songs
AVANT GARDE: Free Improvisation, JAZZ: Third Stream
Show all album songs: #1 Songs
Play Station 6
Maartje Ten Hoorn: violin
Tobias Delius: tenorsax en clarinet
Meinrad Kneer: double bass
Eric Boeren: trumpet
Achim Kaufmann: piano
Paul Lovens: drums
Having played succesfully as a quintet in the Netherlands, the addition of Paul Lovens on drums has proven to be a very fruitful one.
Their first cd, #1, released on evil rabbit records, dec.2006, pictures a group that is immensely versatile with improvised music that ranges from intens sensitivity to masculin power play. The recordings were made on the first occasion of the group as a 6-tet, in Cologne, jan 2006.
tumultuous: i wouldn't know better how to define the music of this third release of evil rabbit. it's music which asks much from you and gives no discount, short minimalist interludes alternated to exhausting digressions in timbre, strident noisy drifts opposing excited frontal attacks, paranoiac and worrying fluttering gently sustained by evanescent plots with a chamber music taste. all this without ever loosing, even in the more cerebral and expanded passages, the overpowering urge of expression and, as we were saying, the tumultuous dance of improvisation.
the sextet at work in the 13 tracks â and re-baptized play station 6 â shows more or less young protagonists of the creative dutch music scene. the leader is one of the founders of "evil rabbitâ: the double-bass player meinrad kneer, recently heard with the piano player albert van veenendal in the wonderful âpredictable point of impactâ and the more subdued âthe munderkingen sessionsâ. at his side shine the clarinet and the tenor of a veteran as tobias delius (icp-member since years and outstanding musician in the âorangeâ scene), the neurasthenic and disturbing violin of maartje ten horn, the edgy piano of the young achim kaufmann (already sparring partner of michael moore and frank gratkowski) and the darting cornet of the acrobatic eric boeren (often recruited in the formations of guus janssen, ab baars and marten altena). special guest is paul lovens who is capable as usual to let himself down brilliantly into the atmospheres created by the companions and to cut out percussive spaces full of fantasy, unpredictable, ironic and always to the point.
it is almost a duty to point out the exciting crescendo of âaloneâ (with a possessed and pyrotechnical delius), the caracoling stately walk of âmajoâs retreatâ and the free- flavoured sketch evoked with an unmistakable dutch spirit in âbravasâ.
in conclusion, for who knows and appreciates the music imported from the land of tulips, there is much to have fun with, instead, for whom canât really boast with these kind of acquaintances the risk is to be disappointed, excluded and burned.
All about Jazz Italy, Luca Canini, 20 september 2007, translated by Sara Ercoli,
The first offering by the label Evil rabbit Records comes in a lovely cover. Six musicians make up for Playstation 6, being Maartje ten Hoorn (violin), Eric Boeren (carnet), Tobias Delius (clarinet, tenor sax), Achim Kaufmann (piano), Meinrad Kneer (double bass) and the German drummer Paul Lovens. This group of improvisors deliver a jazzy experimental live improv. session consisting of twelve chapters. Relatively hectic moments (such as during the fourth track Unprepared) interchange with much calmer episodes (Outside inside). For the lovers of abstract jazzy improv. music.
Phoshor Magazine number 123, september 2007, http://www.xs4all.nl/phosphor/next_issue.html
All you collectors and music lovers out there, sit up and listen. A new label will captivate you with challenging music released on well-devised, ingeniously designed digipacks. The sextetâs live improvisations know how to hold the prepared musical denouements in skillful abeyance. Envoys are sent out (on occasion itâs ten Hoornâs violin, other times Boerenâs cornet, or the plaintive sound of Tobias Deliusâ clarinet) in quest of the befitting response, yet they always return from their excursions with a knapsack full of ideas â impressions that are then transmogrified into a collective piece. Certainly a boon for the listener to be allowed insight into the workings of an alchemistsâ lab.
Mitter, Freistil â Magazin für Musik und Umgebung, No. 14, July, 2007, translated by Gabriele Günther
Play Station 6 is a group of three Dutch players in the front line (Boeren, Delius, and ten Hoorn...Delius was actually born in the U.K. but has lived in Holland for over 25 years) and three Germans in the rhythm section (Kaufmann, Kneer, and Lovens). Thereâs been a lot of interchange between German and Dutch players since the first stirrings of European improvised music in the 1960s. Lovens, whose first recordings as a free improviser stem from around 1970, is one of the most distinctive stylists in the music and is one of the great texturalists among European Free Jazz drummers. Kaufmann is also a texturalist and he frequently can be found preparing the piano or working inside the instrument. Iâm unfamiliar with Kneer but he has a nice big woody sound and his opening solo on âAloneâ is a testament to a player who plays hard and with great facility. Ten Hoorn is an amazing violinist whoâs been heard way too little. Sheâs also a player of great intensity and her kinetic, swirling lines are one of the majorfeatures of this groupâs music. Boeren and Delius are closely associated with the New Dutch Swing players (with Available Jelly, I.C.P. Orchestra, and Berginâs M.O.B.) but here show themselves to be equally adept at playing less extroverted styles of music. The music on #1is true group music. No one is a dominant soloist and the spirit of communal music is maintained throughout. Upon listening, the CDâs statement that everything is improvised with no overdubs and no edits certainly rings true, rendering the conclusions of some of these pieces all the more remarkable. Some are very concise: five are less than three minutes. Itâs difficult to get a duo or trio to be that concise, so itâs all the more amazing that this sextet scores on that mark. The music spans the gamut of free improvisational strategies from fullbore group charges to subtle sound explorations to solos, duos and trios. Play Station 6 offers another side of the Dutch improvisational music and itâs well worth checking out.
Robert Iannapollo, Cadence Magazine, september 2007
almost all the most interesting jazz around at the moment is coming from european players and here's a bunch playing in a free idiom with intelligence and good humour. the better known members of play station 6 are saxophonist/ clarinetist tobias delius, cornetist eric boeren (who, in form, is as good as new jersey's herb robertson) and percussionist paul lovens. but arguable the greatest energy is provided by violinist maartje ten hoorn, pianist achim kaufmann (who's 'preparations' create sounds akin to a detuned zither) and bassist meinrad kneer, who also figures on the other evil rabbit release reviewed below. recorded at the loft in cologne, this is as wonky as an afternoon on skunk in an amsterdam coffee house and as exhilarating as jet-skiing the canals.
brian morton, the wire, august 2007
evil rabbit is a young dutch jazz label started by the jazz musicians albert van veenendaal and meinrad kneer, who, according to a growing tendency, decided to start their own label in order to steer the destiny of their own artistic creations. (...) â#1â, a work by the six piece ensemble âplay station 6â, is inspired more by improvised and contemporary chamber music. in this sextet we find again meinrad kneer on double bass, together with an old acquaintance on drums: paul lovens, and other known musicians as the good performer and soloist achim kaufmann and maartje ten hoorn (known from previous cooperations with maarten altena). among these eric boeren and tobias delius are the less known, at least by me, but the ones that, with their jazz background, keep the improvisations on highly charming, fleshy and rhythmic levels (âman with a scytheâ, âuntitledâ and âsommorrostroâ; needless to say, lovens is masterly). the intense instrumental interaction, defined as in chamber music, reaches its climax in the longer and may be a bit cerebral but still convincing compositions (âglorie von hollandâ, âman with a scytheâ including a great performance on double bass by meinrad kneer and âunpreparedâ with an equal remarkable piece of work by pianist kaufmann). evil rabbit presents itself so highly promising that itâs interesting now to find back the first two releases from the catalogue for other beautiful surprises.
alfredo rastelli, 20 july 2007, sands-zine, translated by sara ercoli
â#1â by the group, that calls itself playstation 6, is the third release on the new label evil rabbit, which, on the first sight, is remarkable because of its splendid graphic design. playstation 6 contains a few renown names of the improv scene among which the one of the german drummer stands out. of course the group is named after the game-computer, but playstation covers perfectly the meaning of the played music: it is playful and emphatically experimental. for quite some people this music will be listed under the name âpeep-peep-knorâ and could the groupâs name bring up associations with the irritating sounds which are produced by such a game-computer. music for a select society, but performed by six musicians who understand their profession particularly well. it is obvious that with such a musical concept comes the fact that not all of the thirteen pieces are pearls. nevertheless â#1â contains very intriguing music. it is not something you come across in every-day life in several meanings of that expression; itâs not meant for every day and itâs not something you will hear every day.
mischa andriessen, www.jazzenzo.nl, 2 may 2007, translated by m. kneer
...Detached from the American model and absolutely not jazz-like. No throbbing Free Jazz with take-it-away-soloâs but a well thought through succession of musical ideas. They carefully listen to each other and know when to silence their own instrument so collective improvisations donât ever strand. Every once in a while this will lead to a barley audible result as âUnpreparedâ or to propelling passages as in âAloneâ and sometimes it might lead to just a simple little tune like âBravasâ.
Jazzflits, Herman te Loo, 11th February 2007
translated by Anna Feilchenfeldt
Of all the "genres" in music that I listen to, the one that's conventionally referred to as "improvised music" is maybe the one I think about more often. On one hand, the (quite large) number of different approaches, the (by now), on the average, excellent quality of what gets released, the (relative) user-friendliness of the final product, due to a better signal-to-noise ration on the part of the CD when compared to vinyl, the existence of "languages" (both personal and shared) that still sound fresh, all this makes for a very pleasant experience. On the other hand, though noisy (and ephemeral) phenomena occur from time to time, due to some element that's fashionable for a little while (here I'd say the laptop to be a good example from recent times), as a whole, the "genre" has never had a large audience (once in a while I think about whether the number of listeners is really that larger than the number of players); while the fact that more and more types of music, defeated by market forces, look for dignity (and funding!) in Festivals that are subsidized by public money has improvisers in a position of inferiority when compared to those who, though semi-poor, have a name that's well-known.
I happen to think about these matters, more so when I listen to a CD like the one released by the sextet called Play Station 6. Musicians who are for the most part well-known (details in a moment), whose approach to music here is in my opinion quite clear: it's not the "particles", the "grain", of sound that gets investigated here; instead, six instrumental approaches get combined to produce something that's original, though not of the "never-heard-before" type. Given their geographical origins (five Dutch, one German), and instrumentation (winds, strings, percussion), I think it's not impossible for readers to have a mental picture of how this music sounds. The album was recorded by Stefan Deistler in Cologne and mixed and mastered by Frank Van Der Weij in Amsterdam: it's a clear sound, which in my opinion greatly benefits from a bit more volume on the amplifier.
I'm not terribly familiar with Achim Kaufmann, here on piano, both in its straight and prepared guise, and Meinrad Kneer, on double bass. One of the founders of European Improvising, Paul Lovens developed his personal approach in a variety of situations, from large ensembles like the Globe Unity Orchestra to percussion dialogues with Paul Lytton. I listened for the first time to violin player Maartje ten Hoorn in the mid-80s, in groups led by Maarten Altena, and later in Misha Mengelberg's Instant Composers Pool Orchestra; I think she's nowadays quite well-known (check her nice CD for string quartet, titled Sparkles). Once they were "young guys on the scene", now they are solid realities that need no introduction: clarinet and saxophone (tenor) player Tobias Delius and cornet player Eric Boeren are the elements that more often here refer to "jazz" climates.
(A personal note: Though I heard Boeren for the first time more than twenty years ago, when he was part of an Altena-led line-up, though I tried very hard, I never managed to buy one of the albums where he was the leader, some of which were favourably reviewed in Down Beat and in The Penguin Guide To Jazz On CD. From what I understand, 4/5 of his CDs are sent, fresh off the presses, to the U.S.A., the rest being shipped to some shops in London. OK, guys - but what about us?)
The six players mix and match to perfection. Once in a while the jazz comes out - first track on the CD, the brief Somorrostro reminded me of the theme to Ornette's Free Jazz; a jazzy, and agitated, tenor is featured on Man With Scythe, along with piano and double bass; there is also jazz on the long Bravas, which starting from 4' has a development that's almost Free. Not surprisingly, there are often traces of "classical-sounding" climates, where sometimes Boeren's skillful muted cornet adds a nice "mismatch".
Nice tracks are Glorie Van Holland, in some ways a good summary of the whole album; Misty; the long Unprepared; Alone, with a nice opening for solo double bass and nice work on tenor; the concentrated Outside Inside; Majo's Retreat, with "African" percussion, and a nice "cool" clarinet: for this writer, this is maybe the best piece on the album, in some ways reminiscent of the best pages by Anthony Davis. But it's the whole album that's really good and - keeping in mind the aforementioned coordinates - quite accessible.
The cover alerted me to the fact that all pieces are "live improvisations, no overdubs, no edits", and I have no reason to doubt this. But all tracks, though "unpredictable", have a sense of shape and proportion that's quite prodigious. (What about The Black Box? Violin and clarinet, plus rhythm, start the piece, but then - at 1'15" - we have silence, and then piano, and cymbals, that had me pleasantly wondering about how this transition had occurred).
Beppe Colli, CloudsandClocks.net | Apr. 1, 2007
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