Christoph Stiefel’s Inner Language Trio

Live!

(Basho Records SRCD 39-2)

Pianist and composer Christoph Stiefel (born Zurich,1961) leads one of Switzerland’s most accomplished trios. Classically trained he later became involved in R’n'B and jazz fusion first coming to prominence in 1984 as a member of harpist Andreas Vollenweider’s Friends group. In 1990 Stiefel formed his first trio and has recorded a total of seven albums in this format adding the Inner Language tag in 2008. Stiefel also works as a solo pianist, in a duo with vocalist Lisette Spinnler and also performs occasionally with a septet, the Isorhythm Orchestra, an extended version of the Inner Language Trio featuring trumpet, trombone and reeds plus the voice of Sarah Buechi.

Stiefel became involved with Basho Records following a chance meeting with label owner Christine Allen at the annual Jazz Ahead event in Bremen. The pianist has long been fascinated with the concept of the Isorhythm, a compositional precept first conceived in the middle ages whereby the melodic and accompanying parts of a piece do not have to follow each other. Stiefel and Allen discovered a mutual admiration for the work of British pianist Gwilym Simcock who sometimes deploys the concept of the Isorhythm in his own work. Simcock is of course signed to Basho and Stiefel subsequently followed him to the label. The two pianists have performed together in a series of piano duos at the Steinway Festival at London’s Pizza Express Jazz Club and Stiefel also delivered an impressive solo performance at St.James’s Church, Piccadilly as part of the 2011 London Jazz Festival.

“Live!” is culled from three concert performances given by the Inner Language Trio in Saalfelden, Amberg and Munich in April 2011 and features Stiefel at the piano accompanied by Thomas Lahns on bass and Lionel Friedli on drums. On two items Friedli is replaced by Kevin Chesham, born in Bern despite the Anglicised name. Stiefel, Chesham and bassist Arne Huber form the current edition of the Inner Language Trio that will shortly be appearing at the 2012 London Jazz Festival.

Despite the academic concept behind Stiefel’s music and the dry nature of some of his tune titles the music to be found on “Live!” is eminently accessible and full of striking melodies and strong rhythmic ideas. Stiefel’s background in funk and fusion has given him a way with a groove and fans of contemporary piano trios such as E.S.T. and Neil Cowley will find much to enjoy here.

Perhaps rather perversely the album commences with “Isorhythm #4” which is a good demonstration of the trio’s strengths with a catchy melodic hook and a solid groove courtesy of bassist Lahns (who also demonstrates his abilities as a soloist) and drummer Friedli. The interplay between the group members is engrossing with Friedli’s solid bass and Friedli busy groove framing Stiefel’s expansive piano explorations. The piece may be rooted in a theory and have an academic title but there’s an energy and vitality about the performance (including a Friedli drum feature) that is guaranteed to win over any doubters. 

“Inner Language/Isorhythm #19” is a slow burner in the E.S.T. manner, building in layers of intensity and complexity from the opening motif. Stiefel maintains a strong left hand rhythmic presence almost throughout as he expounds extensively with his right. Friedli’s drumming is crisp and precise, neatly energetic and subtly propulsive. The piece is punctuated by (and closes with) passages of solo piano which helps to add dynamic variation

There is a change of drummer for “Isorhythm # 2.2” which features the more powerful, rock orientated approach of Kevin Chesham. The piece develops from the simplest of introductions to embrace a muscular, angular groove. Lahns and Chesham deliver an extended bass and drum passage punctuated by Stiefel’s dampened strings, interior scrapings and glacial tinkling. This morphs into a full blown, feverish piano solo above the dense grooves - it’s not dissimilar to the approach of the German trio led by pianist Michael Wollny. Fuelled by Chesham’s walloping drums the piece achieves something of ‘s fabled intensity.