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Bad Alchemy 46 BAD ALCHEMY 46 1 2 PSSST... ICH HÖRE NICHTS... UND WENN SCHON Mein Überblick >New Conceptions of Jazz?< in BA 44 hatte die überwiegend euro- päische Plinkplonk-Evolution im Allgemeinen und speziell die grassierende ‚Ästhetik des Flachen‘ bewusst weitgehend ausgeklammert. Und auch jetzt bin ich von Anwandlungen nicht frei, ob ich nicht über etwas, über das ich nicht wirklich gut reden kann, besser schweigen sollte. Andererseits füllt das Feld der ‚nicht idio- matischen‘ oder ‚freien‘ Improvisation seit Jahren seitenweise die BA, so dass ich nun schlecht behaupten kann, dass diese Ästhetik mir nur auf den Keks ginge und am Arsch vorbei. Klar ist, dass nicht nur die Politiker weitermachen und die Terroristen weiterma- chen und die Kulturindustrie und die Kakerlaken weitermachen, auch die Plink- plonker machen weiter, nunmehr schon in der dritten Generation, wenn man von ‚Großvätern‘ wie Derek Bailey, Han Bennink, Peter Brötzmann, Barry Guy, Paul Lovens, Paul Lytton, Evan Parker, Eddie Prevost, Keith Rowe, Paul Rutherford, Alex Schlippenbach, Irene Schweizer als Gründer- & Pioniergeneration ausgeht, der Incus- & FMP-Generation, dicht gefolgt von der Bead-Generation mit Namen wie Clive Bell, Steve Beresford, Peter Cusack, Marcio Mattos, Hugh Metcalfe, Phil Wachsmann, Tony Wren. Wenn sie nicht schon gestorben sind – wie John Stevens oder Peter Kowald - , dann sind sie alle, inzwischen Senioren zwischen Ende 50 und Mitte 70, noch aktiv und ihre Spielweisen bilden zusammen genommen einen eigenen Kanon zwischen Blues und Madame Tusseaud. Der Versuch, nicht von den Beständen des Jazz zu zehren, ja nicht einmal mehr an den afroamerikanischen Wurzeln zu saugen, sondern die Freiheiten des Free Jazz auf andere Traditionen und anderes Material anzuwenden, hat zwar tatsächlich zu einer enormen Exploration und Erweiterung der Ausdrucks- oder besser Gestal- tungsmöglichkeiten geführt durch Adaptionen von Abstract Expressionism, Action Painting, Aleatorik, Algorithmik, Art Brut, Arte Povera, Atonalität, Bricolage und Bruitismus, von Cage, Dubuffet & Duchamp, von Dilettantismus, Fluxus, Informel, Musique concrète, Reduktionismus, White Canvas, Zweite Wiener Schule. Aber - und das soll vorläufig eine Frage, keine Feststellung sein – ist die Freie Improvisa- tion nach 35 – 40 Jahren nicht doch, entgegen der Illusion des ‚immer Neuen‘ und des From Scratch, in die Grauzone der Entropie gesteuert, der chaotischen und doch gerade als solche selbstähnlichen Ausdifferenzierung, die den Vorwurf der Beliebigkeit nie so ganz ausräumen konnte (oder wollte)? Trifft andererseits oder auch gleichzeitig nicht auch Jim O’Rourkes boshafte Spitze ins Schwarze, dass zwar viel frei improvisierte Musik gespielt würde, aber kaum jemand frei improvi- siert, dass also viele nur mit ihren manierierten Floskeln jonglieren? Wirkliches Improvisieren nennt Schlippenbach ‚Hardcore‘. Bleibt Impro also doch die Antwort auf Fausts Seufzer „Spricht die Seele, so spricht, ach! schon die Seele nicht mehr“, weil es die Lösung des Dilemmas einer vorsprachlichen Direktheit, eines Zugangs zum ‚Innersten‘ verspricht? Liegt darin der Grund, dass noch nie so viele Musiker der Form, den Formen der Freien Improvisation in ihren radikalen, also jazzfernsten Ausprägungen, sich wid- meten wie heute? Ein summarischer Rundblick soll das verdeutlichen, wobei ich jetzt hauptsächlich Vertreter der 3. Generation nennen will: John Bisset (*1960, g), Gail Brand (*1971, tb), Chris Burn (p), John Butcher (s), Angharad Davies (v), Rhodri Davies (*1971, harp), Paul Dunmall (*1953, s), Phil Durrant (*1957, v, el), John Edwards (b), Kaffe Mathews (el), Mark Sanders (d), Pat Thomas (key), Roger Turner (d), Mark Wastell (*1968, c, b, el) mit dem Label Con- front im Mutterland des Plinkplonk; Burkhard Beins (*1964, d), Martin Blume (d), Axel Dörner (*1964, tp), Wolfgang Fuchs (*1949, bcl) mit King Übü Örchestrü, Georg Gräwe (*1956, p) mit seinem GrubenklangOrchester und dem Label Random Acoustics, Frank Gratkowski (*1963, s, cl), Paul Hubweber (*1954, tb), Annette Krebs (*1967, g), Thomas Lehn (*1958, synth), Rudi Mahall (bcl), Torsten Müller (b), Andrea Neumann (*1968, in- side p), Ulrich Phillipp (*1956, b, el), Olaf Rupp (*1963, g), Martin Siewert (*1972, g), Hans Tammen (g), Birgit Ulher (*1961, tp) hierzulande; in Frankreich Noël Akchoté (g), Frederic Blondy (*1973, p), Xavier Charles (*1963, cl, el), Bertrand Denzler (*1963, s), Michel Doneda (*1954, ss), Jean-Luc Guionnet (*1966, s), ErikM (*1970, tt), Le Quan Ninh (*1961, perc), Jerome Noetinger (*1966, el), Christoph Marguet (d), Edward Perraud (*1971, d) mit Joëlle Léandre (*1951, b) als Verkörperung von Kontinuität; Nikos Veliotis (*1970, c) in Griechenland, Luigi Archetti (*1955, g, el), Alessandro Bosetti (*1973, s), Giuseppe Ielasi (*1974, g), Fabrizio Spera (d) in Italien; 3 Tetuzi Akiyama (*1964, g, el), Uchihashi Kazuhisa (*1959, g, el), Ikue Mori (el), Sachiko M[atsubara] (el), Toshimaru Nakamura (el), Tatsuya Nakatani (d), Taku Sugimoto (*1965, g), Yoshihide Otomo (*1959, el, g) in Japan; Diana Labrosse (computer), Chantale Laplante (laptop), Martin Tétreault (tt) in Kanada Cor Fuhler (*1964, p, el), Luc Houtkamp (*1953, s) mit seinem X-OR-Label, Andy Moor (g) mit Unsounds, Gert-Jan Prins (el) und die Amsterdamer Kraakgeluiden-Blase insgesamt in den Nie- derlanden; Ivar Grydeland (*1976, g), Ingebrigt Håker-Flaten (*1971, b), Paal Nilssen-Love (*1974, d), Ingar Zach (*1971, d) und das Label Sofa in Norwegen; Martin Brandlmayr (d), Werner Dafeldecker (*1964, b) mit dem Label Durian, Dieb 13 (*1973, tt), Christian Fennesz (*1962, el), Boris Hauf (*1974, s, el), Franz Hautzinger (*1963, tp), Burkhard Stangl (1960, g) in Österreich mit Radu Malfatti (*1943, tb) und Polwechsel als Keimzellen; Carlos Bechegas (*1957, fl) mit Forward Rec., Ramon Lopez (d), Sei Miguel (*1961, tp), Manuel Mota (*1970, g), Ernesto Rodrigues (*1959, v, el), Guilherme Rodrigues (c, tp), letztere auch mit ihrem Label Creative Sources, in Portugal; Mats Gustafsson (*1964, s), Peter Janson (b), Martin Küchen (*1966, s), Kjell Nordeson (d), Sten Sandell (*1958, p), Raymond Strid (*1956, d) in Schweden; Sylvie Courvoisier (p), Charlotte Hug (*1965, v), Hans Koch (*1948, s, cl, el), Urs Leimgruber (*1952, s), Norbert Möslang (*1952, el), Günter Müller (*1954, el), Martin Schütz (*1954, c, el) in der Schweiz; Oren Ambarchi (g), Sean Baxter (perc), David Brown (g), Tony Buck (*1962, d), Anthony Pateras (*1979, p), Dean Roberts (g), Philip Samartzis (el) in Australien mit Jim Denley als Missing Link; und nicht zuletzt die Vertreter der britischen Alien-Invasion in den Staaten – Aaron Bennett (s), Ernesto Diaz-Infante (g), Jeremy Drake (*1974, g), Kevin Drumm (g), Jaime Fenelly (el), Chris Forsyth (*1973, g), Chris Heenan (*1969, cbcl), Matt Ingalls (cl), Greg Kelley (tp), Bob Marsh (v, c), Jeffrey Morgan (*1954, s), Jon Mueller (*1970, d), Bhob Rainey (s), Fritz Welch (perc), Nate Wooley (*1974, tp), mit Veteranen wie Milo Fine (*1952, d) oder Jack Wright (*1942, s) und mit Projekten wie All Time Present, The BSC, The Left Coast Improv Group, Npering, Psi, Team Up... Für Material und Methode des Plinkplonk standen viele Pate: Cages Indeterminacy, 4:33 und Cartridge Music und die Art Brut eines Dubuffet (Expériences Musicales, 1961) für ihre Brui- tophilie und die Umwertung der musikalischen Werte, Anton Webern für die Fragmentierung und Dehydrierung. In England, wo das Conductionlaboratorium des London Improvisers Or- chestras und das Freedom Of The City Festival gezielt den Austausch dreier Generationen prak- tizieren, stehen die Labels Emanem und Matchless für die Allgegenwart der Vergangenheit, 2:13 und Confront für Innovationen, was diskret-minimalistische Reduktion angeht. Womit die vielleicht auffälligste Entwicklung der letzten Jahre angesprochen wäre, der Vorstoß an die Hörschwelle, die Klangmalerei Weiß in Weiß, das Ausloten des Reichtums zwischen Klang und Klang, in den Falten und Fugen des Beinahenichts, die gedachte Musik. Labels wie Creative Sources, Crouton, Cut, Erstwhile, Fibbr, For 4 Ears, Headlights, In Situ, Khôkhôt, Rossbin Pro- ductions, aber vor allem das wunderbar getaufte A Bruit Secret widmen sich intensiv dieser Äs- thetik des Inframinimalismus mit seinen porösen oder ‚flachen‘ Facetten. ‚Flatness‘ ist ein Be- griff, den Keith Rowe ins Spiel gebracht hat. Der einstige Tableguitarist von AMM, aktiver denn je, steht, nicht zuletzt mit Erstwhile als Forum, mittlerweile für eine dröhnminimalistische Klangwolkenbildung, die ähnlich lange Schatten wirft wie die löchrige Stenographie Derek Bai- leys. Aber auch der Widerhall der genannten Anregungen bei The People Band und deren Le- gat, verkörpert in Terry Day, via der Four Pullovers und Alterations, und explizit beim SME, ins- besondere in dessen kammermusikalischer Spätphase mit Nigel Coombes & Roger Smith, ist in dieser Entwicklung von enormer Virulenz. In seinen radikalsten Ausprägungen hat sich der re- duktionistische Faden verdünnt bis zum kaum mehr hörbaren Hauch der Mikroakustik auf Erst- while, Grob, Durian und A Bruit Secret, in der auch der parallele Reduktionismus von Elektronikern wie Bernhard Günter oder Francisco Lopez als Furie des Verschwindens zu gras- sieren scheint. Dass der Inframinimalismus von A Bruit Secret in der Onkyo-Ästhetik der Off Site-Szene in Tokyo seine nahezu ultimative Ausprägung fand, ist wohl nicht nur den papier- dünnen Wänden des Off Site und den lärmempfindlichen Nachbarn geschuldet. Rigorose Ver- knappung ist ein uraltes Stilmittel der Lao ze- und der Zen-Tradition
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