FUSK – das sind Kasper Tom Christiansen (Kran, QUARTz), Andreas Lang (QUARTz, a la Cour), Philipp Gropper (Hyperaktive Kid, Philm) und Rudi Mahall (Der Rote Bereich, Fossile3) – glänzen mit Spielwitz und Ideenreichtum. Das Quartett spannt einen Bogen von einprägsamen Melodien, über komplexe Strukturen, hin zur expressiven Auflösung der Muster. Hier regieren Ernstes und Kurioses gemeinsam, der Umgang mit dem Themen- und Tonmaterial ist stets spielerisch und damit sehr erfrischend. Ein wahrer Ohrenschmaus!
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This album is a superb example of contemporary modern European Jazz developed and created by a young generation of greatly talented individuals who are lucky to grow up in the affluent borderless Europe, which enables a much wider access to musical education and international cooperation than just a few decades earlier. These young musicians are able to size the moment and exploit this new reality, which results in an explosion of young international groups playing Jazz and Improvised Music all over the continent.Adam Baruch, adambaruch.com
Christiansen, who has been recoding music both as a leader and a sideman for several years before forming FUSK, established his position as one of the leaders of this new European scene, playing extensively with Scandinavian, German, Polish and other young musicians and additionally developing his skills as a composer, which came to full fruition with FUSK. Here he presents his most adventurous works and the quartet turned out to be an ideal vehicle for exploring his music. He is one of the relatively few drummers, who are bandleaders and principal composers in their ensembles.
As a team Christiansen and Lang are one of the strongest and most imaginative rhythm sections on the European scene and this album is full of wonderful examples of their telepathic interplay. Supported by such an excellent rhythm section the two soloists are able to spread their wings and explore the freedom of improvisation in full. Both Gropper and Mahall gently weave their lush structures, both individually and collectively, creating a highly aesthetic whole.
Overall this is an exciting and wonderful album from start to finish, full of surprises and one that keeps the listener on his toes from start to finish. Considering the fact that it is a debut recording, the result is even more commendable. Well done indeed!
The music presented here emphasizes the freedom and openness in his compositions, which are based on short melodic themes which are then explored by the quartet quite liberally and without limitations. Of course even if the music is mostly improvised, both harmonically and rhythmically, it is neither chaotic nor disorganized, keeping well within the boundaries of group improvisation. The quartet members obviously listen to each other attentively and support each other constantly. There is an overall feeling of tenderness and respect and none of the aggression often associated with group improvisation is present here. The individual performances are all first class, with the two soloists obviously standing up front most of the time, but with the rhythm section firmly involved as well. Lang´s bass and Christiansen´s drumming are an excellent example of superb contemporary rhythm section work, which is nonabrasive and nonaggressive and yet keeps the music moving forward on a solid track.Adam Baruch, adambaruch.com
FUSK [...] holt die wilden 1960er-Jahre in die turbulente Jetztzeit, zeigt, wie fließend die Grenzen zwischen frei Improvisiertem und Notiertem sein können. Trotz aller Retro-Tendenzen klingt die Musik dieses Vierers unverbraucht, frisch, aufregend. Übersetzt heißt „Fusk“ übrigens zu viel wie „Pfuschen“. Doch davon kann auf dieser CD nicht die Rede sein.Ssirus W. Pakzad, Jazz thing #99
FUSK defines its own freedom, between contrapuntal springboard melodies, sometimes bordering on serial techniques, and catchy themes that employ hard-swinging rhythms, joint improvisations and expressive deconstruction of patterns, all performed with passionate playfulness and wise irony. [...] playful interplay, true to the spirit of this excellent quartet. Funny, inventive and provocative.Eyal Hareuveni, allaboutjazz.com
Leader Kasper Tom C. has managed to found a quartet utterly distinguished by the personalities of the players... and Kasper's energetic, rollicking vision of how a band can swing wildly and be filled with outside expressiveness throughout. This new album is even better than the last. Listen and you will be transported to a Super Kasper-land, a very good place to be indeed.Grego Applegate Edwards, Gapplegate Music Review, gapplegatemusicreview.blogspot.com
[...] Joe Lovanos Statement „Ich spiele nicht Free Jazz – ich spiele Jazz free“ machen sie sich zu eigen. Explosiv und dynamisch preschen sie durch die kompositorischen Vorgaben des Schlagzeugers Christiansen. Mit dieser zeitgemäßen Auffassung einer freien Spielweise, übersprudelnden Ideen und ungekünstelter Lebendigkeit definieren sie ihren Platz in der improvisierten Szene auf sehr eigenständige Weise.Detlef A. Ott, Jazz Podium 4/2013
FUSK doesn’t so much play free jazz, as set jazz free. Performing Super Kasper in a series of first takes, with three tracks presented as complete improvisations, this amalgam is simply too enterprising to fit into any one category. Call it FUSK jazz, if you like. [...] the group sets a tone of expectation-melting excitement [...] Pulse-quickening without slipping into hyperactivity, arhythmical without losing a sense of propulsion [...] Hair-raising, and then harrumphing...a raw, layered, madcap experience [...] endlessly intriguing [...] FUSK ends things with a moment of crackling interplay – showing once again their willingness to move outside of every convention we have about “outside” playing.Nick DeRiso, somethingelsereviews.com
[...] this is a massive step forward. Challenging chords, imaginative thinking and superb performances. [...] The real thing that struck me from the first listen to Super Kasper was how many times I kept coming back to the record throughout the first week I got it. Fusk is a quartet of veteran musicians. But a quartet that has matured in its compositions and performances faster than you would expect. I really really loved this record. And it will be one of my best of albums of the year. Highly Recommended!Stephan Moore, jazzwrap.blogspot.com
Super Kasper by Fusk is a pivotal album in the world of avant-garde jazz and improvisational music. Throughout the album, Fusk proves that avant-garde jazz is engaging, quirky, fun, and odd—all at the same time. [...] there is a poetic grace about the music, which screams innovation [...] Super Kasper is an interesting and productive work of musical art that should incite praise and adoration from avant-garde, improvisational, free jazz, and nu-jazz forms.Matthew Forss
FUSK macht glücklich! So soll Quartett-Jazz sein: im Drive nicht zu bremsen, die Melodien klar konzipiert, aber nicht ausgedacht - und aus allen Knopflöchern quillt feiner Humor.Tobias Richtsteig
I presume that the new Fusk is even more mature proposal and will gain at least as high marks as the debut. Personally, music on Super Kasper warms me up so much that I might jump into the glacial this time of year Spree river to cool off a little bit and finish my bath in the vicinity of the Mühlendammschleuse floodgate after 55’26 seconds, because winter is a pretty hot season with this music.Marek Lubner, soundsgreen.blogspot.com
Fusk is an album of multiple ideas brought in from previous group experience. But where this quartet shines is that they are thinking one step ahead of their some of their European counterparts in that you once you’ve learned from your influences–what will you do with it. Fusk shows that you can do a lot. Enjoy…Stephan Moore, jazzwrap.blogspot.com
Ebendieses Album setzt, selbst durch miserable Boxen, Kopfhörer und Anlagen, eine schwerelose Tiefe und Freude frei, gefolgt vom Begehren, das eigene Leben sollte öfters zu vielschichtigen Soundtracks wie diesem verlaufen.Ole Schwabe, webmoritz.de
What impresses me about this one is the total leverage of the unit. They kick the music with some torque and have well-poised forward movement. It's the kind of new jazz that takes the impetus of Ornette's early ensembles and the emerging masters of that era, like Simmons, Dolphy, the NY Contemporary Five, early Don Cherry and the Dixon-Shepp unit, and goes someplace new with that. They do a very good job at it. If you like the propulsed freedom of the giants that came before, you will find something new to like with Fusk. Recommended.Gapplegate Music Review
"Fusk" (fudge) - plain and simple, but not in that sense. Bandname and title of the debut record are the same. But not at all is the music ”fudge”. The young Danish drummer Kasper Tom Christiansen has during his Berlin settlement had the privilege of being joined in his quartet by one of Germany's most prominent jazz soloists, Rudi Mahall - with sax player, the young, also German, Philipp Gropper and his Danish partner from the berlin-base, Andreas Lang. A surprisingly strong group with an own sound, which especially depends on the original reed players - but also on the organic pulsating ”carpet” the Danes on bass and drums propagate, as the basis for creativity in the music. Christiansen has written some exceptionally strong themes, often in two-part, intricate lines, that the group turn and twist for all their melodic substance. In the group's melodic and tonal soundscape you hear kinship with the music of Joe Lovano, Ornette Coleman, Charlie Haden and Don Cherry's Complete Communion. So one doesn't long for "a good solo." But luckily they come - in full bloom along with many duo improvisations by the two reeds. Mahalls Baroque and edgy markato playing contrasts interestingly to Gropper's pronounced legato playing with the special matted and at times guttural tone on the tenor sax. Both are captivating improvisers who often intercept ideas from each other or from the thematic presentation. On the harmonic and rhythmic side there is Lang's bass, at once solidly supportive and open for solistic movement, and on the drums Christiansen is a tailored and fiery turmoil and commentator, as he is obviously the general for the refreshing variations in tempi and rhythmic patterns that pervade several tracks. In two collective free improvisations the group wisely keep track of direction and with sharp attention to each other's movements, seize the potential of dialogue and contrast. But the melodic value of themes and solo playing is undeniably the group's hallmark. For example the initial riff-styled and Coleman-like Ein Kopf Kaffe, bitte, and the harmonically long streched swinger Berliner Bratwunder plus the beautiful hymn-like November and the strongly cantabile Kammiena Wola in 5/4-time. The German-Danish quartet is, regardless of the name, a group that plays carefully embellished music, one would like to hear more of.Bjarne Søltoft, Jazz Special Magazine
FUSK is one of those bands that creates a modern, innovative, new form of jazz, appropriate to the 21st century [...] Indeed, you can look forward to great music [...] they represent the best acoustic jazz in Europe.Tine Kolenik, rockline.si
FUSK moves in the area of tension between composition and improvisation in an original expression that is indicative of an orchestra that plays music with a very communicative approach. (...) Communication is always an important aspect in music, but positively in FUSK it is practiced as one of the absolute key parameters in the artistic expression. (...) Overall FUSK requires concentration and openness - but with this as the basis, the debut album is quite interesting, and I can imagine that a live concert by the quartet can be an exciting and inspiring experience.Martin Lutz, www.jazzstjerner.dk
The Danish drummer Kasper Tom makes his debut with a strong, well-toured and precise, hard-hitting album, that in a wonderful and off-centered way unites Germany and Denmark. Tom has good connections to the neighboring country south of the border, which explains the appearances of the Berlin based saxophone-comet Philipp Gropper and Rudi Mahall on bass clarinet. Moreover, the eminent bass player Andreas Lang provides Tom with great support. The group freely sets out from modern, experimental jazz and finds a consistently, captivating combination of abstract improv and hard-swinging interplay – not least thanks to Tom himself. At more times the individual tracks offer downright outstanding solos, played at a really high level. It is extremely competent and imaginative, but also acquires an open-minded listener, when the most avantgardistic elements fill the sound scape. 5 stars (out of 6).Thomas Bjørnsten, Aarhus Stiftstidende
But for those who do comprehend avant-garde jazz, it can be quite a pleasure to hear left-of-center musicians playing the type of music they enjoy instead of catering to a program director or a marketing department. And that play-what-you-feel-in-your-gut ethos is very much at work on this self-titled album by Fusk, a European avant-garde jazz quartet consisting of leader Kasper Tom Christiansen (who is from Denmark and writes most of the material) on drums, Berlin-born Philipp Gropper on sax, Denmark native Andreas Lang on upright bass and German-born Rudi Mahall on bass clarinet (...) Saying that Fusk would rather reflect and contemplate than confront is not to say that this album is without passion. There are plenty of passionate moments here. But the thing is that when Fusk decides to blow off some steam at times, they will build up to it rather than giving the listener scorching chaos from start to finish. There are some chaotic moments on “Eins Zwei Polizei”, “Ein Kopf Kaffe, Bitte” and the quirky “The Attack of the Überpea”, but it isn’t the sort of nonstop chaos and relentless sensory assault that the more extreme artists in jazz’ avant-garde are known for. Nuance is not a mere afterthought on this album, but an integral part of what Fusk do. And it should also be noted that Christiansen, Gropper, Lang and Mahall have a strong sense of teamwork on this album. The four of them are very much in sync, and together, they achieve a genuine group sound; they give the impression that they went into the studio with a sense of purpose.Alex Henderson
(...) also was die Bassklarinette für Töne von sich gibt, während der Mann mit den Gummibeinen hineinbläst, ist unglaublich, ekstatisch, schräg, irgendwie hätte John Cage seine Freude dran gehabt. Wir natürlich erst recht. Einfach wunderbar … Denn wenn die Bassklarinette und das Saxophon das melancholische gemeinsam ihrem melodischen Rhythmus folgen, bläst es den ZuhörerInnen die Perücke weg (...) Rhythmisches Zusammenspiel, phantasievolle, manchmal melancholische Soli, schräge Töne: Was will man mehr.ostsee.blogspot.de