Recklinghausen “Fringe”Festival Review JMQ



Recklinghausen. Set The four virtuoso jazz musicians of the New York Quartet “, a steady pulse driven by a high-class set

Fringe means not only the cultural “edge”, the outlying areas away from the established mainstream. The Jazz in the Freiburg John Mössinger of strangers would not even in the finest concert halls. His “New York Quartet” maintains the right tone between dreamy and lyrical, and a huge drive.

At the start of their three concerts Sparkasse Vest as a co-sponsor of the “weird” festival a particularly distinguished Formation in the deepest jazz diaspora was invited. . And despite the classic line up of drums, bass, piano and saxophone this quartet acted not only conservative values: Instead of the canon of the “American Songbook” to work, presented the band leader and pianist exclusively his own compositions, with a preference of the rich material of his latest double album ” Rules – no Rules.

Rules and “no rules” (the latter said, however, never atonal noise-explosions): In this charming area of conflict moved the four-rounder with enthusiasm. The compositions Mössinger John, which he presented only once, unfortunately, with their title, are characterized by a steady pulse that connects the individual works as a comprehensive suite.

The ensemble playing, however, ensures that this river never melts in uniformity. Drummer Karl Latham drives his players with obvious enthusiasm. Calvin Jones tugs and strokes his bass with dedication and to the lyrical moments – but he also suggests the thumb on the strings, as it is otherwise known only from the e-bass funk.

Saxophonist Joel Frahm finally shows thanks to its stylistic range, from the smoky-shrouded chief Balla to hard bop tube as an ideal sparring partner for the flashes of melodic pianist.

All four instruments were miked, but perfectly modulated to a convincing transparent sound. A central composition of the 90-minute sets John Mössinger then has yet presented by name: “Joanne’s Dance”, a mini-suite within the comprehensive “suite” of this concert was moving at quite natural grandeur between Karl Latham battery upgraded (with Gong and sheet-strokes) and a reverie of a Nordic look.