This brand new project is a very individual take on the classic guitar trio configuration. Composition and improvisation bolster each other, sometimes blending to a point where they sound almost indistinguishable. The written parts are often quite complex and dense, especially from a rhythmical standpoint. Particularly relevant in this regard is the recurrence of polyrhythms obtained from the superimposition of the instrumental parts. Each instrument operates in fact as an independent voice that interweaves with the others freely, generating a combination of distinct layers. Polyrhythms do not occur in sistematical or mechanical ways, but unpredictably and sporadically as in a sort of dialectic of tension and release. Moments of “rest” in which all the three voices follow the same metre and subdivisions alternate with the “drifting apart” of one instrument claiming its own independence. The influences behind this music are manifold (African music, Far East folk, jazz, contemporary classical, just to name a few) but never too explicit. Direct quotations and evident references are avoided, whereas the real attempt was to transfigure and conceal elements from existing music (like the forementioned traditions and others) and incorporate them in what would be a coherent and hopefully original outcome. While retaining a significance on their own, the principal aspect and function of the songs lie in their dialogue with the improvisation. The intention behind the pieces was not to use them to kick-start the improvisation but to vehicle and inspire it. The intricacy of the music is not meant to imprison the interpreters but only to provide them with suggestions, ideas, a musical imaginary to freely interact with. They may decide to use a single musical element and build on it, to work in contrast with the composition or to move anywhere in between those two poles. Finally, my goal and hope is to be able, through this collective process of investigation, to bring the improvisation and the interplay to territories that would be difficult to explore otherwise.
EIN GSCHLÖßL PÖSCHL
Gerhard Gschlößl – trombone, sousaphone
Alberto Cavenati – guitars
Sunk Pöschl – drums
Otis Sandsjö – tenor sax
Alberto Cavenati – guitar
Tilo Weber – drums
After a few impro sessions the trio decided to try and play some compositions i had handy. Some of those songs were meant for other instrumentations and were given a new unexpected life thanks to the openness of the bass-less trio. That encouraged to follow that path and enlarge the repertoire with a couple of ad hoc compositions that now form a collection of very diverse and captivating music. More structured acts and very simple melodies take turns while the focus on sound and interplay remains paramount. Tilth’s release “Zou no jouro” is out for “Trouble in the East Records”, check it out now.