Christoph Stiefel Inner Language Trio

“Big Ship”

(Basho Records SRCD 44-2)

“Big Ship” is Swiss pianist and composer Christoph Stiefel’s second release for the London based Basho label. It follows 2012’s “Live!”, a concert recording featuring Stiefel’s Inner Language Trio. Most of the material on “Live!” was based around Stiefel’s use of isorhythms as a compositional device but this new studio album offers a greater variety of moods and styles as Stiefel adopts a less theoretical approach.

The classically trained Stiefel was born in Zurich in 1961 and later became involved in r’n'b and jazz fusion bands, first coming to prominence in the 1980’s as a member of harpist Andreas Vollenweider’s Friends group. In 1990 he formed his first jazz piano trio and has recorded several albums in this format, adopting the Inner Language tag in 2008. He has also worked as a solo pianist, in a duo with vocalist Lisette Spinnler and has also led the seven piece Isorhythm Orchestra, an extension of the Inner Language Trio featuring trumpet, trombone, reeds and the voice of Sarah Benechi. His connection with Basho Records stems from a chance meeting with the label’s Christine Allen at the annual Jazzahead event in Bremen, Germany. Allen has since brought him over to England to perform on a number of occasions and in a variety of contexts, and the Inner Language trio will launch their “Big Ship” in the UK at The Forge in Camden on April 2nd 2014. 

“Big Ship” features a new version of the trio with Arne Huber taking over on the bass from previous incumbent Thomas Lahns. Kevin Chesham fills the drum chair throughout after appearing on two tracks on “Live!” as a replacement for former drummer Lionel Friedli. Despite the anglicised name Chesham hails from Berne and he more than fulfils the promise that he briefly exhibited on the live recording.

Although Stiefel is now less reliant on the isorhythm he remains fond of repeated motifs and much of the trio’s music has the kind of urgency that typifies the music of such groups as E.S.T. , The Bad Plus and the Neil Cowley Trio. Opener “Thalatta” exhibits something of that energy with Stiefel’s percussive piano stylings and darting motifs contrasting well with the lightness of Chesham’s neatly energetic cymbal work. Huber anchors the exchanges between piano and drums and also finds time for a dexterous and resonant solo mid tune. There’s also something of a feature for the busy Chesham who impresses throughout the album.

As the press release suggests both “Thalatta” and the following “Attitudes” offer vague nods in the direction of South African “Township” jazz. These come not only in the form of melodic motifs and phrases but also in the essential joyousness of the pieces. The irrepressible Chesham is characteristically energetic during “Attitudes”, producing an array of sounds that surely qualify him for the title of “percussionist”. His drumming is full of delightful small details whilst continuing to propel the group. He and Stiefel, who solos exuberantly here, seem tailor made for each other. On a technical note this is the only purely isorhythmic composition on the album although echoes of the device can be heard on other pieces.

After the high octane start “Elegy” reveals a more reflective side of the trio, a stately ballad that features Stiefel at his most lyrical, subtly supported by Huber and Chesham in a finely judged trio performance. 

“Pyramid” is more groove based and builds from Chesham’s brushed drum intro to embrace “in the pocket” grooves and a further series of inspired piano and drum exchanges. Like much of the trio’s output it’s full of melodic and rhythmic invention, unfolding constantly as the tune progresses with Stiefel soloing expansively. 

The album’s second ballad, the lovely “New May”, finds Stiefel exploring very different terrain. Spacious and tender it wouldn’t seem out of place on an ECM recording as Stiefel solos lyrically above Huber’s rich bass undertow and Chesham’s deft, finely detailed brush work as the drummer displays his skills as a colourist. There’s also a brief feature for Huber who is frequently heard at his best on these slower, more reflective pieces. 

“Big Ship” itself owes something to the isorhythmic concepts of Stiefel’s previous work and the title acknowledges that although the crew has changed and the ship is steering a different course the Inner Language Trio is still the same vessel. Unsurprisingly there are plenty of short, rhythmic phrases, a hint of wilful dissonance and features for bass and drums that serve to emphasise that this edition of the trio is a democratic and highly interactive unit.

At a little over a minute the gently lyrical “First Blossom”, a delicate solo piano piece that harks back to Stiefel’s classical upbringing, acts as a palette cleanser between the title track and “The Dance”, another piece informed by Stiefel’s love of the isorhythm. At times there’s a real urgency about the playing but the hard edged grooving passages, featuring Stiefel’s use of dampened piano strings, are interspersed with quieter moments such as Huber’s early bass feature. Stiefel’s solo exhibits the kind of airy joyousness suggested by the title and this is carried on into Huber’s second feature which is accompanied by Chesham’s effervescent percussion and hand-claps.

“South” offers another change of pace, a beautiful ballad piece notable for its simplicity in comparison to much of the rest of the material but no less effective for it. Stiefel’s pensive, unadorned piano ruminations are complemented by Huber’s deep bass tones and Chesham’s exquisitely detailed cymbal accompaniment.

It’s the fizz of a cymbal, approximating the sound of running water, that opens “Angel Falls”, another piece that draws on Stiefel’s use of isorhythms. The mood is predominately edgy, energetic and turbulent, but, as so often with Stiefel’s tunes, punctuated by more reflective moments, among them Huber’s bass solo. 

The closing “Solar Glider” also draws on isorhythmic principles but here combines them with a sense of narrative - one can sense the aircraft of the title taking to the air and soaring on the thermals generated by the passages of urgent, insistent piano motifs before floating serenely back to earth with Huber’s closing bass feature.

Overall “Big Ship” feels like a considerable improvement on “Live!”, good as the previous recording was. This time round there’s more variation, better use of dynamics and a greater variety of mood and pace, light and shade. It feels like a more rounded, more mature album. Stiefel’s abilities have never been in doubt but in Huber, and particularly Chesham, he appears to have found the perfect partners. Let’s hope this trio stays together for the long haul, although I must admit that on this evidence I’d quite like to hear Chesham performing in other contexts. He strikes me as one of the most exciting young drummers to have emerged from mainland Europe for some time.

The Christoph Stiefel Inner Language Trio will launch “Big Ship” at The Forge, Camden on April 2nd 2014 at 8.00 pm with Tobi Backhaus replacing Chesham in the drum chair. Liam Noble will also be playing a solo piano slot. Sadly I can’t be there but I’d recommend anyone who can make it to get on down there. For details visit http://www.forgevenue.org   

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