#lionel friedli

[garadinervi]

Talking to silence – part 1, performed live at Café Oto in London, May 9, 2018, for the record launch Talk in a bit. Hannah Silva (vocals, lyrics), Lionel Friedli (drums, percussions), Luca Xelius Martegani (electronics and keyboards). Promoted by Human Kind Records

[diyeipetea]

Dave Gisler Trio: "What Goes Up..." [See You Out There (Intakt, 2022)] Por Pachi Tapiz. JazzX5#446 [Minipodcast de jazz]

Dave Gisler Trio: “What Goes Up…” [See You Out There (Intakt, 2022)] Por Pachi Tapiz. JazzX5#446 [Minipodcast de jazz]

“What Goes Up…” Dave Gisler Trio with Jaimie Branch and David Murray: See You Out There (Intakt, 2022) Dave Gisler, Raffaele Bossard, Lionel Friedli, Jaimie Branch, David Murray. El tema es una composición de Gisler. Tomajazz: © Pachi Tapiz, 2022 ¿Sabías que? Dave Gisler Trio se estrenó en Intakt con el disco Rabbits On The Run. Su siguiente obra fue Zurich Concert, en la que contaban con la…

[burlveneer-music]

Andreas Tschopp BUBARAN - Tumbuk - gamelan-style compositions played on guitar, drums, & 3 horns

The term Tumbuk in gamelan music refers to a common tone which occurs in two differently tuned gamelan scales. Figuratively speaking, it is a point at which different realities meet and mix, a musical linchpin. For me, this is a beautiful metaphor for this ensemble, in which my interest in the sound worlds of Indonesian music with its microtonality, scales, timbres and sound effects coincides with the musical understanding of a jazz band.creditsreleased September 25, 2020 Andreas Tschopp: Trombone Matthias Spillmann: Trumpet, Flugelhorn Bernhard Bamert: Trombone Ronny Graupe: Guitar Lionel Friedli: Drums All music by Andreas Tschopp "Delem Tari" based on a Wayang Kulit performance by I Wayan Wija Cover Illustration by TEMPA, Yogyakarta, Indonesia Artwork by Salzmann Gertsch, Bern, Switzerland

[riffsstrides]

Nicolas Masson "Travelers"

release concert at the AMR Jazz Festival 2018

Nicolas Masson: saxophone Colin Vallon: piano Patrice Moret: bass Lionel Friedli: drums Recorded live at the AMR Jazz Festival in Geneva on February 28th, 2018

[projazznet]

Nicolas Masson – Travelers

After two ECM albums with the cooperative trio Third Reel, Swiss reedman Nicolas Masson presents a quartet for which he is the sole composer. The group has existed for more than a decade with unchanged personnel, touring as Nicolas Masson’s Parallels, and the leader’s writing for it always encourages creative responses from the players. Amid the changing musical landscapes in which these travellers move, you will encounter some of Colin Vallon’s prettiest ballad playing, richly melodic bass from Patrice Moret, and subtle drum commentary from Lionel Friedli. Plus, of course, plenty of Masson’s pure-toned saxophone and elegant clarinet. Travelers was recorded at Auditorio Stelio Molo in Lugano in April 2017, and produced by Manfred Eicher.

[constantinmarburg-blog]

Die Gruppe Le Pot des Schweizer Trompeters und Bergführers Manuel Mengis am Dienstag, den 30.01.2018 in der Cavete, Steinweg 12, 35037 Marburg, Beginn 20.30 Uhr, Eintritt 12 Euro. Mit dabei Hans-Peter Pfammatter - Tasten, Manuel Troller - Gitarre und Lionel Friedli - Schlagzeug. Da, wie der Name schon sagt, die Cavete ein Gewölbekeller ist und keine Kirche, ist für ausreichende Erwärmung sicher gesorgt. Die famosen CDs der Gruppe sind erschienen auf dem ebenfalls famosen Schweizer Label Everest Records. Die Jazz-Zeit von Radio Unerhört Marburg spielt sie am Sonntag als Konzertvorschau zwischen 20 und 24 Uhr in der Sendung, die sich ansonsten um Aktuelles aus Polen dreht (hier: Jazzinitiative Marburg e.V.)

[olivierfamin]

Casio Medicine

11.01.2017 - Turnhalle, Bern Live Visuals by Luis Sanz Photos: Eve-Marie Lagger

[blog-bishop]

Petit thème accrocheur façon E.S.T. Trio 

Christoph Stiefel (piano), Thomas Lahns (piano), Lionel Friedli (drums)

[tobiasreber]

Scatter Plot feat. Pascale van Coppenolle

[boabmayday]

Directed by Andrin Winteler

[forumwallis-blog]

Manuel Mengis (trp/el) Hanspeter Pfammatter (key/el) Lionel Friedli (dr) Manuel Troller (guit/el) excerpt recorded@ FORUM WALLIS 2013 / Stage In Focus - Marie Noële Guex le pot spielen zeitgenössischen Jazz le pot existieren genau jetzt le pot spielt mit viel elektronischem Gerät le pot klingt wie Samba Oelek le pot schreit laut in den Himmel le pot kann aber auch Zuckerbrot sein le pot tanzt le pot stinkt le pot hinkt

[riffsstrides]

Nicolas Masson

Travelers

ECM, 2018

Nicolas Masson: tenor and soprano saxophones, clarinet;

Colin Vallon: piano;

Patrice Moret: double bass;

Lionel Friedli: drums.

Following two recordings for ECM Records as a member of the cooperative Third Reel (including the trio's self-titled 2013 debut), reed multi-instrumentalist Nicolas Masson strikes out on his own with Travelers, his first album as a leader for the label. Third Reel's Swiss/Italian lineup of reeds, guitar (Roberto Pianca) and drums (Emanuele Maniscalco), along with its emphasis on collaboration and interaction over individual focus and overt virtuosity, has rendered the trio the torch bearer for the late Paul Motian's trio with guitarist Bill Frisell and saxophonist Joe Lovano, which existed for more than 25 years until the drummer's passing in 2011. And Third Reel may have come first chronologically, when it came to releasing its music on ECM, but the quartet heard on Travelers is, in fact, celebrating ten years together this year, though the group has released but one previous recording, Thirty Six Ghosts (Clean Feed, 2009), under the name Nicolas Masson Parallels. Beyond those familiar with Third Reel and the trio's 2015 follow-up Many More Days, or those fortunate enough to have caught the trio in performance (including a wonderful set at the 2013 Enjoy Jazz Festival in Heidelberg, Germany), two members of Masson's quartet on Travelers will also be known to fans of ECM's releases from the past decade. After releasing two trio recordings in 2004 and 2007—the second, Ailleurs (hatOLOGY), representing the start of his longstanding relationship with bassist Patrice Moret, who is also a member of Masson's quartet—pianist Colin Vallon moved to ECM for 2011's sublime Rruga, and has remained with the label ever since. In addition to releasing two additional trio albums, both Vallon and Moret can be heard on Albanian singer Elina Duni's two ECM dates, beginning with 2012's Matane Malit. While two very different projects, a similar attention to space, detail and motif-driven improvisation (not to mention the increased chemistry shared by the Swiss pianist and bassist) have distinguished Vallon and Moret, irrespective of the context in which they find themselves. Lionel Friedli will be, for those unfamiliar with Thirty Six Ghosts, the new name here, though those who follow the Intakt label may know the Swiss drummer for his work with both vocalist Sarah Buechi and guitarist Dave Giseler. Like the rest of his band mates in Masson's quartet, Friedli is largely disposed towards delicate engagement as well as color and understatement, as evidenced on his opening a cappella solo to "In the Deep." Still, with a foundation centered upon Vallon's dark-hued arpeggios and Moret's spare but perfect supporting choices, it's largely a feature for the drummer, who turns more expressively dynamic during a mid-section solo that juxtaposes the deep rumbling of mallet-driven toms with all manner of cymbals and tuned gongs. Friedli is also fundamental to Masson's soaring soprano saxophone feature towards the end of the piece, where the two players dramatically pull and push each other, to great impact and effect. Elsewhere, while there's little to compare them to pianist Art Lande and saxophonist Jan Garbarek, there's something about the relatively brief title track that, as a similarly duo piece for piano and saxophone, recalls an early label classic, Red Lanta (ECM, 1973), in its deep lyricism and effortless bidirectional communication. Still, Masson's sound—whether on clarinet, or tenor or soprano saxophone—possesses none of the Norwegian saxophonist's tarter, drier complexion. Instead, Masson's tone is distinctively gentle, warm and burnished, whether soaring into the altissimo range or diving down into his instruments' lower registers, though he occasionally employs a more aggressive stance, as he does on "Wood." An ethereal piece initially derived from Vallon's persistent eighth-note piano figures (and, again, Moret's thoughtfully supportive injections), but ultimately opening up into freer group interaction, Masson's patiently unfolding solo manages to say a great deal with relatively little, another of Travelers' overall modus operandi. Contrasting Third Reel's egalitarian approach to composition, Masson contributes all nine original pieces to Travelers. Its emphasis may, across Travelers' 50-minute duration, be largely pensive and introspective, but that needn't suggest a lack of drama, dynamics or diversity. If ECM has demonstrated anything over the course of its near-half century existence (and it has illuminated many often less-considered ideas), it's that the sound and shape of every note often matters far more than sheer volume. That's not to suggest a lack of virtuosity amongst the members of its large roster, and that includes this quartet. If anything, the desire to allow notes the time needed to decay requires a deep understanding and appreciation of just how the interaction between subtle harmonics across a group's overall vertical structure can enrich and, even, define its overall complexion. In addition to Masson and his quartet's clear appreciation of such harmonic verticalities and constitutional touchstones, they also prove capable of unexpected and, at times, deceptive rhythmic inventions. The tempo of the opening miniature, "Gararine," appears to alternatively speed up and slow down, with only Friedli's cymbals revealing its actually consistent pulse. And as affecting as Masson's soprano solo undeniably is, threading finely honed melodies through this ever-shifting environment, Vallon is more impressive still, subsequently mirroring the saxophonist's penchant for melody with his right hand, even as the pianist continues driving the seemingly accelerating/decelerating tempo with his left. Moret is far more than an anchor on Travelers; he's an eloquent conversationalist and thematic foil, with his nuanced solo, early on "Almost Forty," as impressive for what he doesn't say as for what he does. In fact, despite this clearly being Masson's group from the perspective of providing its compositional context, it's clearly as purely democratic as Third Reel, when it comes to how its four members intercommunicate. Masson proves himself capable of writing both spare, jumping-off point sketches and more richly composed music of intimate detail, into which the quartet can fully immerse itself. The sum total, representing a collective sound and aesthetic ideally suited for ECM, becomes increasingly beguiling with each and every listen. Some albums impress immediately, but sometimes the best are those which reveal their multifarious riches over time. Possibly even more than Anouar Brahem's instantly evocative, career-defining Blue Maqams (ECM, 2017), Travelers is one of those albums that could easily pass people by...but it would be their loss. Evocative and provocative in ways ranging from atmospheric to grounded, softly angular to unrepentantly lyrical and implicit to more clearly intentioned, Travelers is both another potential modern masterpiece for the label, and the album that should rightfully bring the same international attention that Masson and his band mates so deservingly enjoy in their native Switzerland. Simply put: Travelers is an album not to be missed.

JOHN KELMAN in All About Jazz

[riffsstrides]

Ganesh Geymeier - Kailasha (2020)

5/10

The main focus was to create something contemplative and introspective in the same state of mind that I was in while composing. I like to see that period of time as a kind of pilgrimage.

Estelle Beiner - violon

Delphine Touzery - violon

Stephanie Park - violon

Eléonore Giroud - violon

Domitille Jordan - cello

Barbara Gasser - cello

Sara Oswald - cello

Lionel Friedli - drums

Fabien Iannone - bass, double bass, synth, piano

Ganesh Geymeier - sax, synth piano, computer

[riffsstrides]

Throwing Coins - Luzia von Wyl Ensemble (2018)

Her nine-piece band (featuring kit drums, marimba, double bass and a mix of woodwind and strings) explore some of the textures of “third-stream” jazz, while her compositions – tricksy, episodic works, filled with multiple rhythms and audacious chord changes – sometimes share some of the tropes of contemporary jazz songwriting. But her mischievous arrangements transcend such binary distinctions, and display a sonically satirical bent that recalls Frank Zappa.

Bass – André Pousaz

Bass Clarinet – Lukas Roos

Bassoon – Maurus Conte

Clarinet – Nicola Katz

Drums – Lionel Friedli

Flute – Amin Mokdad

Marimba – Raphael Christen

Piano – Luzia Von Wyl

Violin – Vincent Millioud

Violoncello – Jonas Iten

[tobiasreber]

Scatter Plot feat. Michael Stauffer

Design by Ritxi Ostáriz

[tobiasreber]

New project and live dates: Scatter Plot

Design by Ritxi Ostáriz