Label: Squama Cat.-Nr.: SQM028 Format: LP - CD - digital Release: February 14th
https://play.idol.io/masako-ohta-matthias-lindermayr-nozomi?invitation_token=bb583975660e76ae293aae10c59f2186
Nozomi means hope. Once again, trumpeter Matthias Lindermayr and pianist Masako Ohta combine their minimalist, poetic languages. After their lauded debut album as a duo, 2022’s MMMMH, here they feed off each other’s energy again. The ostensible simplicity of their playing lets the listener focus on its deep emotional expression.
Composing the music, Lindermayr felt inspired by the piano works of Arvo Pärt, Philip Glass and Ryūichi Sakamoto; a version of the late Japanese composer’s piece “Hibari” is featured on Nozomi. Most of the tunes are based on notated ideas, but there’s always an important element of improvisation at play. “We handle the compositions quite loosely”, he says. “But it’s not absolutely free music.”
Nozomi finds a release on the experimental Munich-based label Squama run by producer Martin Brugger and designer Maximilian Schachtner. Ohta’s and Lindermayr’s first collaboration MMMMH received exuberant reviews and was nominated for a prestigious German jazz prize (Deutscher Jazzpreis).
Ohta and Lindermayr originally come from different scenes: While the trumpeter played contemporary groove-based jazz with quintet Fazer, Ohta – who was classically trained – experimented on prepared piano. Both share an unruly passion for improvisation.
They first met at an award show in 2019, when both received a grant from the city of Munich. Ohta played Débussy and Takemitsu, Lindermayr performed with his jazz quartet. Ohta marveled at Lindermayr’s tender, lyrical and dreamy style. “The quality of his tone touched me deeply”, she says. “I very much appreciate Masako’s tone on the piano as well”, the trumpeter answers. “Even very simple chords sound unbelievably good when she plays.”
Like their first album, the nine new pieces were recorded live in the studio, in just a few takes each. The whole album was finished in a few days. These recordings express the joy of playfulness, but a melancholic tranquility is audible as well. Asked about differences in their methods of collaboration, Ohta answers: “We were just more relaxed this time – mostly because we know each other better.”
Right after the recordings, Ohta and Lindermayr traveled to Japan for a mutual concert trip. Deeply inspired by Ohta’s home country, most of the album’s tracks received Japanese titles. Taking the element of improvisation to the visual level, Japanese photographer Daisuke Tomizawa shot two atmospheric images for each song – portraits of everyday life that capture the feeling of the music.
Lindermayr recounts a special moment from that trip: “We were in Kyoto, and at that time of the year, the city was overrun. An acquaintance of Masako’s led us to a gorgeous temple in his neighborhood. No tourist would end up there. The three of us sat there and became very calm. We didn’t speak a word, just watched this stone garden for a while.”
You might think of this episode as insignificant, but in fact, it perfectly describes their music’s quiet quality. Nozomi feels like a healing, analog island of contemplation; an implicit statement against the frantic chatter of the present.
words: Stephan Kunze (zensounds)
Credits: Music written by Matthias Lindermayr except Hibari written by Ryuichi Sakamoto. Shaped and brought to life by Masako Ohta and Matthias Lindermayr Recorded by Noël Riedel Mixed and Mastered by Martin Ruch Lacquer Cut by Sidney Claire Meyer Produced by Martin Brugger Designed by Maximilian Schachtner Photography by Daisuke Tomizawa
