Austrian pianist Elias Stemeseder and German drummer Christian Lillinger capture the Zeitgeist in a nervy, occasionally anxiety inducing, pairing under the moniker Umbra. Although extant as a duet, they often supplement the numbers with like-minded collaborators, and on Umbra II trumpeter Peter Evans and bassist Russell Hall take to the full on interaction like ducks to water. Unlike their debut recording, this time out they swear off the electronics for an all acoustic outing, although, truth be told, such is the highly charged nature of the discourse that abstinence proves almost irrelevant.

All 13 cuts, on an album that challenges the capacity of a CD, are credited to the two principals. Structures, however, often seem predicated on percussive dynamics rather than melodic or harmonic confluences, despite boppish unisons or ballad feels asserting themselves at various junctures. As such, it is Lillinger with his hyperactive glitchy approach to meter who perhaps offers the most pertinent access point. Stemeseder is harder to get a fix on. At times he issues forth in that marvelous flow that illuminated his tenure with drummer Jim Black's trio, but thenn affirming his allegiance to a wider span of genres, he also adopts more jagged trajectories, staccato shards and sparse rhythmic chords abounding.

Evans nimbly handles whatever is thrown at him. He is ridiculously fluent, his lines showing no visible means of support as they swoop and soar, assuming warp speed at the slightest provocation. He first demonstrated an affinity with Lillinger in the quartet Amok Amor, and he reinforces that connection here, whether in a lurching stutter or being disarmingly tuneful. Hall, as his track record with the likes of drummer Tyshawn Sorey and pianist Emmet Cohen attests, is another one averse to remaining in the same lane. He branches from solid foundation to meditative rumination, but never missteps.

All four mesh in an empathetic display that both dazzles and exhausts. It should come with a health warning: strong caffeine needed before broaching. This is dime turning elevated to a fine art, executed with a devil-take-the-hindmost insouciance.

https://www.allaboutjazz.com/umbra-ii-elias-stemeseder-christian-lillinger-intakt-records

Pianist Elias Semesder and venerable drummer Christian Lillinger are joined by Russell Hall (bass) and Peter Evans (trumpet) for an energetic, all-acoustic set recorded at the Van Gelder Studios. It's a grower, and yet another winning album from the Swiss-based Intakt label.

Dietro un'apparenza di svagata, rapsodica leggerezza, quasi un divagare libero nella deriva di frammenti di temi, si nasconde una forza possente, la pregnanza di un gruppo che, sotto la guida dell'austriaco Elias Stemeseder e del tedesco Christian Lillinger, autori di tutte le composizioni create all'impronta, mostra di essere perfettamente strutturata. Questa registrazione tutta acustica effettuata nei gloriosi studi di Rudy Van Gelder a Englewoos Cliffs, culla di infiniti capolavori del jazz moderno, si impone al primo ascolto con una rilevanza assertiva immediata. E il merito, forse, è nella scelta accorta, sagace quasi, che il pianista Stemeseder e il batterista Lillinger hanno operato su due lati imprescindibili nel reggere l'equilibrio di forze del quartetto: il basso puntuale e imperturbabile di Russell Hall, anche quando la temperatura emotiva della musica è assai elevata, e, soprattutto, la formidabile prestanza del trombettista Peter Evans dal New England, da molti anni con base fissa a New York. Evans, che alterna alla tromba anche la pocket trumpet che amava usare Don Cherry, è un talento non comune. Ha un fraseggio ispido e ricco di tratti aguzzi costruito su lacerti di brevi, ficcanti frasi in legato che sembrano quasi brandelli di un'immaginaria conversazione con qualcuno, con frequenti sottolineature espressive di certe parole. Perfetto, in ogni caso, per la trama di punteggiature ora rade, ora fittissime, del piano di Stemeseder, in una sorta di andamento sinusoidale, salite e discese, e per valorizzare il gioco di luci dei metalli dalla batteria di Lillinger; quasi un "frattale percussivo", per rubare la definizione al critico Peter Margasak. Gran disco.

Die dritte Zusammenarbeit von Stemeseder/Lillinger betitelt sich erneut mit einer Variation des Begriffs >>Umbra<< (nach >>Antumbra» und »Penumbra«) und schickt uns wieder in solare Sphären, nachdem zuvor duettisch-akustisch-elektronisch Reisen in die Mitte der (Sonnen-) Finsternis (Antumbra) und im Gegenzug direkt an die Sonnen-oberfläche (Penumbra) unternommen wurden. Nun also der Kernschatten >> Umbra«, in einer Version römisch Zwei, den es zu erhellen galt mit diesem glitzernden, orbitalen Quartett-Leuchtturm. Schluss mit interplanetarem Meta-Geschwafel: Elias Stemeseder und
Christian Lillinger entschieden sich bei dieser Einspielung für klassische Besetzung (Piano, Schlagzeug, Trompete: Peter Evans, Kontrabass: Russell Hall) und klassische Location im Rudy van Gelder Studio legten die Masterminds gemeinsam erarbeitetes Kompositionsmaterial vor und spielten alles in First Takes ein. Heraus kommt durchweg Spannung, muskulös Pulsierendes, hingetupft Berührendes, Interaktion in totalem Einvernehmen. Impuls wird auf Impuls gestapelt, geschriebenes Material umschweiflos fortentwickelt in transpersonalen Ideenfluss. Evans, Schlagwerkarbeit in Stakkati verschleudernd, setzt dann wieder gleichsam weiche und raue Farben, nimmt das Ensemble mindestens genauso mit, wie die Kompositionen ihn auf die Reise schicken. Faszinierend. Wie auch Lillingers perkussiver Austausch mit und Vorantreiben der Trompete. Inspiration für den Tag im Tonstudio war ein Foto des Coltrane-Quartetts. Hier, zum Glück, scheint das kein Bild eines übergroßen Schattens der Historie zu sein. Sondern Kraftquell für Explorationen, deren Kraft und Sensibilität berühren.

Organic and acoustic, UMBRA II is something of a departure for Austrian keyboardist Elias Stemeseder and German drummer Christian Lillinger. Usually found in musical settings where the instruments are voltage imbued and the textures volcanic and abrasive, this could be termed the duo’s Jazz album.

Not only does it lack the electronics store-like collection of keyboards that Stemeseder played on the first UMBRA, but also missing are the string players who added sounds to that 10-part cycle. There are 13 tracks on this disc, including two three-part suites, but the instrumentation is almost conventional – drums, piano, the trumpet and piccolo trumpet of American Peter Evans and the double bass of Jamaica-born Russell Hall. The only oddity is Stemeseder’s use of the lautenwerk or lute-harpsichord in spots. But its gut string timbres are subtle rather than sharp. Meanwhile, the few times Hall is upfront confirm how his positioned thumps propel the rhythmic flow. That is except on “Blendung” when he interrupts his walking for arco strokes that harmonize with the pianist’s dark pressure and Evans’ piccolo trumpet pitches that resemble dog whistles.

More than a high-note specialist, the trumpeter’s triplet squeaks and brassy bounces are usually there to fill any unsightly holes in the broken octave expositions however. Otherwise. such as during the “Neue Form” and “STKH” suites, brass grace notes and portamento connections frequently intersect with piano fantasia-like key dusting or dedicated positioning to maintain color and flow. There may be a collection of half-valve growls, body tube shakes and protruding plunger tones on one sequence of “STKH”, yet Evans appears so committed to Jazz sensibility that among motifs that glide to bent notes and flutters a morsel of “Fascinatin’ Rhythm” is heard during “Neue Form”?

Constantly in motion, Lillinger’s energetic crunches and cymbal pops aren’t exaggerated or show-offy, but join with the bass pulse and Stemeseder’s hard and pressurized comping to regularize the program. At the same time though, Evans mastery of techniques from raspberry blats to bent note slurs confirm that UMBRA II is a 21st Century improv session not a Bop quartet date from 1954, even if the disc was recorded at the Van Gelder studio in New Jersey.

Proving its chameleon nature when comparing UMBRA II to the first UMBRA, Stemeseder Lillinger make one wonder what other sounds may come with UMBRA III.

https://www.jazzword.com/reviews/stemeseder-lillinger-quartet/

Gli studi di Rudy Van Gelder a Englewood Cliffs, NY, sono luoghi quasi sacralizzati dove sono nati capolavori del jazz moderno. Chi ne varca la soglia sa che in qualche misura si troverà a cogliere vibrazioni di effervescenze creative immense, e così è stato per questo quartetto, che oltre al pianista austriaco Stemeseder e al batterista tedesco Lillinger accoglie il basso sontuoso di Russell Hall e la tromba monella e irrequieta di Peter Evans, a ricordare gli <«strappi>> di Don Cherry. Quiete e fuoco, nel gioco delle parti perfetto.

In dit tweede deel gewijd aan drummer Christian Lillinger zoom ik in op zijn samenwerking met pianist Elias Stemeseder. Samen zijn ze te horen in het bij Intakt Records verschenen ‘Umbra II’. De twee hebben iets met dat woord, want in 2022 verscheen bij dit label al ‘Umbra I’, dat hier nooit aan bod kwam en bij Plaist Records kwam in datzelfde jaar ook ‘Penumbra’, dat hier wel aan bod kwam en dat nu gevolgd wordt door het eveneens bij Plaist verschenen ‘Antumbra’. Begrippen die de twee niet zelf verzonnen hebben, maar die stammen uit de astronomie, het zijn alle drie vormen van schaduwen. ‘Penumbra’ was een duo album, terwijl we de twee samen met een aantal gasten horen op ‘Umbra I’ en het net verschenen ‘Antumbra’. Ook ‘Umbra II’ is geen duo album maar is in tegenstelling tot de twee anderen in zijn geheel opgenomen met trompettist Peter Evans en bassist Russell Hall.

Over dit nieuwe project zegt Stemeseder: “There is a bigger structure at work, some of which is pre-planned, and some of which reveals itself to us as we go along, We take note of what is around us – musically and otherwise – and our work can be seen as reflections on that. So, quite obviously, various aspects of our interests want to be realized, and we wanted to provide a vessel, or channel, or metastructure which would hold all of these ideas together. So there is continuity in what we put into this. Of course, that doesn’t mean that a listener will also see that continuity, because it is a processual continuity rather than a stylistic one.” De samenwerking leidde tot een vrij klassiek jazzalbum, eigenlijk wat afwijkend van wat we van deze twee soms gewend zijn en zeker van de twee albums van Lillinger die hier gisteren centraal stonden. Het tekent de veelzijdigheid van deze drummer. We openen met het uit drie delen bestaande ‘Neue Form’, waarin in het eerste deel met name de dynamische bijdrages van Evans opvallen, naast de stevige ritmiek van Hall en Lillinger. Terwijl het begin van ‘Neue Form, part two’ juist opvalt door een uiterst fragiele, luisterrijke solo van Evans en fijnzinnig pianospel van Stemeseder, gaat het kwartet verderop weer volledig los. Het vrij lange ‘Myokard’ dat daar vlak achter zit, is beduidend abstracter en bevat een prachtige triopassage van Stemeseder, Lillinger en Hall. En dan is er ‘Resolution Points’ dat een mooi voorbeeld is van dat orkestrale slagwerk waar Gordon Grdina het over had en dat ik in mijn vorige verslag citeerde. Bijzonder is ook zeker de ballade ‘Blendung’ en dan met name door de bijdrages van Evans en Hall, die laatste met duistere klanken, gespeeld met de strijkstok. Bijzonder zijn ook de in elkaar overlopende drie delen ‘STKH’, spontane bewegingen van met name Stemeseder en Evans op een gebroken ritmiek van Hall en Lillinger, waarbij gedurende het proces de spanning steeds verder oploopt. Impro op het scherpst van de snede.

Horen we Stemeseder op ‘Umbra II’ op piano, op ‘Antumbra’ is het vooral elektronica wat de klok slaat, in opener ‘Annular’ aangevuld met gitaarspel van Brandon Seabrook. Nog experimenteler klinkt dat in ‘Silhouette’, waarin verder de gebroken ritmiek van Lillinger opvalt. Bijzonder is ‘Shadow Granular’ waarin we als gast Doyeon Kim horen op de Gayageum, een snaarinstrument uit Korea, dat qua klank wel wat wegheeft van de citer, maar dat wij in die vorm niet kennen, een nogal zeldzaam instrument in deze stijl van muziek, maar hier werkt het prima, zeker bij Lillingers lome ritmiek. Diezelfde lome ritmiek vinden we in ‘Tied Light’. Het lijkt of we een fluit horen, maar het blijkt ook nu een bijdrage van Stemeseders elektronica. Het is met name die elektronica die ervoor zorgt dat dit veel minder een zuiver jazzalbum is dan dat ‘Umbra II’, het bezit evengoed kenmerken van experimentele elektronica en neigt soms, bijvoorbeeld in ‘Umbra’ en ‘Trong’, naar ambient, soms naar noise, zoals in het boeiende ‘Lux’ en soms zelfs naar dance, zoals in ‘Apex’, ‘Drop Shadow’ en ‘Granular Light’ het geval is. Dat terwijl de muziek op andere momenten weer meer richting free-jazz beweegt, al is de instrumentatie wat afwijkend, ‘Antielectrons’ is daarvan een boeiend voorbeeld.

https://www.nieuwenoten.nl/?p=18245

Imagine a musical universe where jazz's avant-garde explorers join forces with the precision of Swiss watchmakers. In this paradoxical realm, the Stemeseder Lillinger Quartet thrives, crafting intricate sonic tapestries that defy conventional melodic structures. At the helm of this audacious ensemble are Elias Stemeseder (piano) and Christian Lillinger (drums), two maverick minds whose collaborative chemistry could power a small city. The Quartet features Russell Hall (bass) and Peter Evans (trumpet), crafting a complex and intriguing follow-up album with Umbra II. Adding to the album's allure, it was recorded at the legendary Rudy Van Gelder Studio, known for its historic significance in jazz.

"Myokard" highlights the quartet's ability to create an atmosphere that is mysterious and inviting. Stemeseder's piano lines are haunting and beautiful, weaving in and out of the shadows cast by Lillinger's nuanced drumming amid a subtly ascending groove and brash outbreaks via Evans' gravelly tone and bold statements. Moreover, Hall's bass and Evans' trumpet add to the sense of intrigue, creating a soundscape that is as captivating as a late-night noir film. If music had a Hitchcockian twist, this track would be it.

"Blendung" offers a change of pace with its more reflective and contemplative mood. Stemeseder's piano takes on a more lyrical quality, supported by Russell Hall's gently pulsing bass and arco lines with Lillinger's understated drumming. Evans' trumpet adds a touch of melancholy, creating a piece that is as introspective as it is charming. It is a moment of calm amidst the storm, like finding a quiet corner in a bustling city.

On "Mandelbrot Sagittar," the quartet's interplay is among its finest here, with each member contributing to a tapestry of sound that is both intricate and harmonious. Stemeseder's piano and Evans' trumpet engage in a playful dialogue, while Russell Hall's bass and Lillinger's drums provide the asymmetrical rhythmic backbone. It takes the listener on a journey through light and shadow, via restrained chaos, tranquility and exuberance. Yet "STKH pt. III" begins with the drummer's off- centered tom patterns and the trumpeter's sharp-edged lines, countered by the rhythm section's turbulent movements.

With Umbra II, the group have created an album that is as unpredictable as a jazz cat on a hot tin roof, constantly surprising us with its twists and turns. The quartet's fearless experimentation and boundless creativity offer a refreshing departure from the formulaic sounds that dominate the airwaves. Just remember, this is not music for the faint of heart—it is a sonic rollercoaster that promises thrills, chills and a few "Did they really just do that?" moments. And that, dear listener, is where the true beauty lies.

https://www.allaboutjazz.com/umbra-ii-stemeseder-lillinger-quartet-feat-peter-evans-and-russell-hall-intakt-records

Der Pianist Elias Stemeseder und der Drummer Christian Lillinger haben sich seit „,Pen- umbra" (2021) mit noch Synths, Electronics & Producing vertieft in die Sonic Fiction von ,,Umbra" (2022) und „Antumbra“ (2023). Für Umbra II (Intakt 423) waren sie im Oktober 2023 in den Rudy Van Gelder Studios in NY im STEMESEDER LILLINGER QUARTET ver- bunden mit dem Trompetenstar Peter Evans, Lillingers Partner auch schon in Amor Amok, und dem Kontrabassisten Russell Hall, die beide ja schon bei „Umbra“ mitgemischt hatten. Und überraschen mit einem rein akustischen Setting und einer vergleichsweise jazzigen Geradlinigkeit, die sie jedoch keineswegs als Absage an die komplexe Zersplitterung der bisherigen Schattenwürfe verstehen. Peter Margasak erinnert es an das Miles Davis Quintett, Lillinger selber bringt das Coltrane Quartett ins Spiel. Blue Note, Impulse!, Columbia 2.1? Was die Virtuosität angeht, steht die Augenhöhe mit den Giants der 60s außer Frage. Wobei ich hinter 'Neue Form I-III', 'Resolution Points', 'Baltum' [der röm. Name von Albufeira?], 'Mandelbrot Sagittar', 'Dog' und 'Eau-Forte/Strong Water' [Salpetersäure] weder Nostalgie noch eine Überbietungsabsicht vermute, sondern sowas wie eine Mahnung, in der, exemplarisch bei 'Blendung', zwar melancholisches, ja hauntologisches Feeling anklingt, doch aufgehoben in ostinater Insistenz und Virulenz. Um beharrlich zu pochen auf die dem Jazz inhärente Kraft zur Innovation und Integration, ästhetisch und science-affin, sozial und global. Mit dem Auge für visuelle Zersplitterung und existentielle Fraktalisierung, hörbar in den pianistischen Spritzern, dem perkussiven Flickern, im trompetistischen Irrwitz bei 'STKH I-III'. Mit dem Faible für Noise, wie ihn Evans als Part maudit an die Lippen drückt, für die unvertrauten fragilen Klänge eines Lautenwerks, für 'Juden der Sprache' [Fremdwörter] wie 'Myokard' für Herzmuskel. All das ist nicht nur denkbar un- retro, es ist eine quicklebendige und bestechende Demonstration für Geistesgegenwart und Verwegenheit. Apropos: A sagittar is a warrior who fights through all their emotions with spiciness and courage, nobody can handle doing that besides the Sagittar [urbandictionary.com]. [BA 124 rbd]