Swiss composer Nik BÃ¤rtsch explores the space between improvisation and composition with his band Ronin
by Kevin Crowe
Scanning the sheet music for â“Modul 35,â” one of pianist Nik BÃ¤rtschâ’s compositions from 2006â’s STOA, it appears to be a dizzying array of eighth- and sixteenth-notes, bridging across the page and rarely, if ever, letting up. Itâ’s a tight, aesthetically delicate arrangement, no doubt, designed with all the precision of an architect, so that the layers of BÃ¤rtschâ’s quintet can seamlessly build on top of each other. At least thatâ’s how it looks on the page.
But when â“35â” begins to play, itâ’s just a simple, repetitive chime, barely audible over a vast and barren soundscape. Half a minute passes before things really get started with an impressiveâ"and lightning-fastâ"flurry of hyperactivity, courtesy of BÃ¤rtschâ’s Fender Rhodes. The chime continues to ring, if you care to listen for it, keeping its phrasing softly in the background.
As dense a musical tapestry as BÃ¤rtsch is capable of weavingâ"â“35â” being one of his most deliberately denseâ"he rarely allows any layer to become an overpowering presence in the piece. Not long after he begins to play in â“35,â” the piano stops abruptly, and things begin anew. The soft, repetitive chime still rings. Everything, even what can sometimes appear to be pure improvisation or instant composition, is calculated, even expected as the piece moves on, as he melds genres and avoids classification as best he can, but for the most part, BÃ¤rtsch is at his best gleaning elements from jazz, funk, and modern composition to incorporate into his arrangements.
Kasper Rast, who has been playing with BÃ¤rtsch since they were both 10 years old, handles the drum kit. Rastâ’s swift and surgical precision is tempered by percussionist Andi Pupato, who was schooled at the Escuela de superaciÃn profesional de musica Ignacio Cervantes in Havana, Cuba. Sha (nÃ©e Stefan Haslebacher) is the resident reedman. Stockholm expatriate and bassist BjÃ¶rn Meyer adds a hefty thump to BÃ¤rtschâ’s minimalist grooves. As a composer himself, Meyer is all over the map, playing bass in a style he calls â“Tripfolkâ” or â“Bazaarmusic.â”
â“Freedom is a very interesting word,â” BÃ¤rtsch says from his home in Zurich, Switzerland. â“If I have total freedom, it is often too much.â” There are moments of pure, uninhibited bliss on each of BÃ¤rtschâ’s Modules. At the same time, thereâ’s always tension.
â“Between improvisation and composition, and also interpretation,â” BÃ¤rtsch explains. â“The conscious freedom, the thinking about freedom in music is very important. Iâ’m interested in a focused freedom, to give us the possibility to be creative.â”
For BÃ¤rtsch, this music creates a space, something that borders on the spiritual. Itâ’s a moment in time, never permanent, and itâ’s nearly impossible to explain without a little bit of religious or philosophical fervor.
â“Music fills the room, like a light,â” he says, â“You feel comfortable, you want to stay in a piece. A mix between meditation and emptiness, where all the high energy takes place.â”
BÃ¤rtsch definitely talks like a philosopher, or maybe an eccentric ascetic hermit. His sloganâ"â“Ecstasy through Asceticismâ”â"is a curt description of his thought process. His music can meander, filled with moments of sheer minimalism before it becomes shockingly boisterous. Then there are moments, thankfully very few, where the arrangement shifts into a syrupy, almost schmaltzy groove, which is just an unexpected bit of fun each time it happens.
During a brief stint at the University of Zurich, BÃ¤rtsch began studying linguistics, reading such French philosophers as Jacques Derrida and Jean-FranÃ§ois Lyotard. The theories he learned continue to affect his music, even though he never received a degree.
â“It was important to me, because I wanted to find out whatâ’s really possible to say,â” he remembers. â“Whatâ’s the poetic potential of a word? Whatâ’s it thinking? Whatâ’s possible with intellect?â”
Ronin, as BÃ¤rtschâ’s group calls itself, celebrated its three-year anniversary with the release of Holon, a collection of five new Modules. Thereâ’s even some dipping into Roninâ’s past catalog. â“Modul 38_17,â” the last piece on the new album, combines rhythmic elements of two Modules, interlocking the two in hopes of creating something new.
Ronin, a term popularized in the Western world by Akira Kurosawa films in the â’50s, refers to the lonely samurais who had no allegiance to any clan in feudal Japan. They roamed the countryside, and if you hear BÃ¤rtsch talk about them, these warriors â“had to take certain risks, to search for their own ways.â” In its simplest terms, the ronin is a character of pure romance, a kernel of history that seduces our imagination in unexpected ways. BÃ¤rtsch imagines warriors fighting â“to find out what freedom isâ"
â“If you translate that into the music businessâ"â” He pauses and leaves it at that.
Who: Nik BÃ¤rtschâ’s Ronin Where: Bijou Theatre (803 S. Gay St.) When: Friday, Feb. 29, 8 p.m. How Much: $16.50
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