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Christof Lauer, Wolfgang Puschnig, Bob Stewart, Thomas Alkier - Bluebells (1992) [Modern Creative]; FLAC (tracks+.cue)

Chamber Jazz, Improvised Music, Avant-Garde Crossover
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Mike1985
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Christof Lauer, Wolfgang Puschnig, Bob Stewart, Thomas Alkier - Bluebells (1992) [Modern Creative]; FLAC (tracks+.cue)

Unread postby Mike1985 » 26 Oct 2020, 10:45


Artist: Christof Lauer, Wolfgang Puschnig, Bob Stewart, Thomas Alkier
Album: Bluebells
Genre: Modern Creative
Label: CMP Records
Released: 1992
Quality: FLAC (tracks+.cue)
Tracklist:
  1. Screwbirds 6:13
  2. Mixed Metaphors 8:30
  3. Tunk 7:24
  4. Bluebells Nightmare 3:12
  5. Nonet 8:58
  6. Ann-Charlotte 4:06
  7. Down Under 5:44
  8. Coming Home 5:31

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    Personnel:
  • Christof Lauer: tenor & soprano saxophones
  • Wolfgang Puschnig: alto saxophone
  • Bob Stewart: tuba
  • Thomas Alkier: drums

The '90s saw a small but noticeable rise in popularity of the tuba (and its marching band cousin the sousaphone) in jazz groups. Its sound gives any music a certain street fanfare feel, along with some avant-garde panache, but its difficult manipulability has a tendency to drag the momentum of any piece. Even the best tuba players can't avoid sounding a bit fat or heavy. That's what happens to Bob Stewart in this quartet. Luckily, he is well supported by a lively drummer (Thomas Alkier) and a vivacious two-headed saxophone line consisting of Christof Lauer and Wolfgang Puschnig. Bluebells contains a nice selection of funky avant-jazz-rock numbers that draw both from the downtown N.Y.C. scene (angular rhythms, faux-simple melodies, a delinquent poise) and the restraint (some would say dryness) usually associated with German and Swiss avant-garde jazz. "Screwbirds," penned by Lauer, opens the disc with a two-punch groove, very well done. Stewart's "Tunk" and Puschnig's "Down Under" provide the other highlights of the set. But even in its best moments, the music feels incomplete. There is a void left between the tuba line and the interplay of the saxophones. The addition of an electric guitar or a trombone would have made the tunes less obvious, less naked. It is still a good album -- and some of Lauer's solos on tenor sax should catch the attention of Ken Vandermark's fans.
Francois Couture

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