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"Hildegard learns to fly" says goodbye to a break.
He slams and slams. It rattles and rattles, growls and bubbles, scrapes and snores. He blows and whistles through the Lörrach Rosenfelspark. Andreas Schaerer and his five companions at "Hildegard learns to fly" no sound is alien. And again and again, there is only the astonishment on the sound creations – be it the voice (Schaerer), which mutes in trombone or the trombone (Andreas Tschopp), that winds between the song of the birds and horn, be it saxophones (Benedikt Reising and Matthias Wenger) oscillating between the calm of trance and screaming ecstasy
The sextet around the charismatic leader is one of the articles of 39, the most popular cultural export of Switzerland. With Erika Stucky and Christian Zehnder, the 41-year-old living in Bern embodies something of a triumvirate of progressive Swiss music. Last piece of a long tour, the group opened the series of concerts "Stimmen" ("Voices") in the park, designed as a festival lounge by the Nigerian-German artist Tokunbo Akinro and his singer casual.
"Hildegard learns to fly", in any case, fits this scenario and its natural background noise, as it was created for the group and let it out the last time before a long break – as Schaerer promised. Held by the rhythmic group composed of the double bass (Marco Müller) and the percussion / marimba (Christoph Steiner), which sculpts the sometimes flying wings of this flying object which is projected into new sound spheres, Schaerer & Co develops a virtuoso game of musical possibilities. It absorbs elements of jazz and free jazz as well as blues or beatboxes. In pieces like "Zeusler" and "Rezeusler", alpine folklore and world music influences meld. Even classical singing has its place in this frayed mixture of birds and appears in an almost performance staging, for which Schaerer ingeniously, as it is, finally uses the stone steps to the stage.
The musician since 2015 has received many echoes and his comrades reach the magic box at all levels and stage a journey through styles and moods that simply ignore musical boundaries. The result is a mosaic full of ideas, a construction and deconstruction and a flow of musical information, the summits of which require listening efforts, which sometimes stimulate the questions and desires of simple melodies. with the musicians, instead of taking "complicated branches". To torment the cat 's music, as Schaerer reveals in one of his humorous moderations, but that always leads to the pleasure of listening.
The 41-year-old man prepares himself with rather self-destructive comments that sometimes give an almost zappaesque insight into the inner life of the still-spiritual group on the ground. Lörrach is part of Basel, where he initiates a vocal improvisation. But even if the statement reflects some of the reality, of course, it has no political motives, but is purely performance-related. Because the incorporation paves the way for the standard language, High German, in Swiss German. However, Schaerer has developed an inspired vocal improvisation – just an example of the spirit and joy of playing, which sets him apart from himself and all the others on stage from first to last note
" Hildegard learns to fly. " with major and avant-garde projects in the jazz environment – from Carla Bley's Escalator over the Hill in the 70's to the Vienna Art Orchestra by Mathias Rüeg in the 80's and 90's or of Naked City by New York saxophonist and composer John Zorn. in the exorbitant Cabinet, with which the composer and arranger Basler Kaspar Ewald was made a name ten years ago. But now, for the moment, a pause in the transmission: the "Hildegard" -flyer rolls in the shed for 18 months, then to start again – then again in the Rosenfelspark. In any case, this Last was the first culminating point of the "Stimmen" in 2018.
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