Nik Bärtschs «Ronin»: Ritual Groove Music
TASTENTAGE – Musik ganz nah
TASTENTAGE – Musik ganz nah
Article - Nik Bärtschs «Ronin»: Ritual Groove Music
Ritual Groove Music
With the Zen-funk-quartet "Rionin", founded in 2001, Nik Bärtsch continues the work on his "Ritual Groove Music" together with Kaspar Rast on drums, Thomy Jordi on bass and Sha with bass and double bass clarinet.
The music of "Ronin" always has its own strong, very individual character. It contains elements of different musical worlds, be it funk, new classical music or sounds from Japanese ritual music, always equipped with groove and further developed with Schalk. The pieces have a modular structure, motifs shift against each other and meet at other points. What always seems to be the same, shows itself again and again anew through the developing sound environment. The result is a coherent style - music that follows the aesthetic vision: Maximum effect with minimum means.
"Ronin" thus creates a uniform aesthetic on all levels of musical expression. Composition, phrasing, sound structure, performance and musical form together form a system of interconnected elements.
Thus, the radically reduced playing material of the individual is transformed into a rich, organically developing fullness of sound, which, as it were, screws itself up into ecstatic passages. This music is made possible by the consistent pursuit of an overall dramaturgy, which must be at the expense of the individual musical staging, as Bärtsch explains in conversation. "It's like football: the team has to be the star."
Nik Bärtsch, Piano Kaspar Rast, Schlagzeug Thomy Jordi, Bass Sha, Altsaxophon, Bass- und Kontrabassklarinette
For 13 years Nik Bärtsch has been playing "Ronin" every Monday in his music club Exil in Zurich, which not only leads to an uncanny repertoire of the group, but also to a well-rehearsed playing of the four musicians, to a blind musical understanding.
Although Bärtsch's compositions precisely define the music and leave little room for micro-interplay, there is no danger that the formation will merely perform the CD program. "Our albums are always only momentary stocktaking," says Bärtsch. The quartet plays its repertoire often and intensively, whereby the modules change and develop further, one becomes shorter, another longer, because it absorbs only a part of an older module.
Surprising and sudden theme changes function with incredible precision, the finest changes in the sounds are imperceptibly adopted and further developed, so that the concert experience almost mutates into a fascinating Zen meditation.
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