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Archives: Discourses

 

Die Titel von „Discourses“ sind von programmatischer Strenge – the certainties, the suspension, the polarities usw. – und weisen,  Jon Balke zufolge, auf eine immer mehr aus den Fugen geratene politische Rhetorik der Ausgrenzung und  Unversöhnlichkeit. Tatsächlich haben die manchmal zögerlichen, eruptiven, Stille überspielenden Intonationen der menschlichen Sprache spezielle Rhythmisierungen  des Klavierspiels mit auf den Weg gebracht. Dabei sind diese, von allerlei Geräusch angereicherten, sich gleichsam „angreifbar“ machenden, Pianoklänge von jeder epischen Ausschmückung befreit. Dennoch erzeugen all diese prägnanten Stücke, wundersam paradox, einen verblüffend eleganten, kohärenten Spielfluss. 

 

Discourses is Jon Balke‘s third solo piano album. With the second one, the wonderfully seductive Warp, sound processing & sound design enter the field – a subtile undermining of the piano‘s purity. The Norwegian composer (b. 1955)  is a member of the „ECM family“ since the early years, with his first appearance on Arild Andersen‘s album Clouds In My Head (1974). Let‘s skip his broad range of works as a leader since the days of Nonsentration (1991) and come to the here and now. When I first heard the new album, I immediately sensed that it was not Jon‘s idea to simply add more colours to the sensual palette of Warp. I felt urgency, anger, ruptures. There is something faithful though, a sense of mystery wrapped around melodic figures. Discourses is a very special record.

 
 
 

 
 

Do you agree when I say, Discourses is the „dark sister“ of Warp? It is a very dense work.

 

I sincerely don´t want to direct how people hear this album, and I am happy to hear totally different and opposite interpretations of the music. But, yes, it is connected to Warp and also to Book of Velocitites (2007) in the sense that it explores the same situation, which is the solo artist and the surroundings (Book of V playing to an empty room, Warp playing to a world that starts to respond). And then I have tried to make Discourses a more focused album than the previous two, in the sense that it explores a smaller field of dynamics and tonal concepts. More focus on micro-details. So a detour into a smaller space, in a way.

 

Of course in these days new albums are often linked with Covid 19. Thus, nearly automatically, when looking at the cover, I imagined some early social distancing exercise. When listening to the album I had the impression of a kind of fight going on between uncompromised self-expression and a threatening counter-force of some kind. Am I wrong?

 

No, you are right, absolutely. I am concerned with society and political developments, and do not make music in a vacuum. And, since this music had language and rhetoric as direct inspiration, the music is a reaction to the deterioration of language in political discourse. In a way the Covid crisis highlights this even more, with the desperate press conferences we see too often by leaders who have made catastrophical choices all the way into this disaster. I took the cover photo on a morning square in Malmo, Sweden, and made a series of the same theme that I the crossfaded with each other into a slow-mo movie, because the light was good and the people moving isolated in their own world.

 

The new album is somehow inspired by language, but words themselves are absent.

 

I am attracted to the music of language in rhetoric, and dayly speech: how we use tonality and flexible, non-metric rhythm to express as precisely as possible what we want to say. We pause, we rush, we punctuate, we climb in pitch. Also how we make a statement, debates it, argue for it, return to it, conclude. The solo speech is a good school for solo piano playing.


Discourses will be released tomorrow. How do all these strange sounds care for additional suspense without interrupting the flow of listening? What has been the role of producer Manfred Eicher in the final mix? How come this „smaller space“ is opening up again and again? You can hear other parts of my interview with Jon Balke during the radio night of „Klanghorizonte“ on June 20, and as part of the „Jazz Facts“ on July 5 (Deutschlandfunk).

 


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