Neither/Nor Records
Diaphane, Paris (n/n 018)
Paris is a live album and the recording debut of the international quartet Diaphane. The group, which is dedicated to improvisation, makes use of a variety of unusual techniques and objects to extend the pallet of their acoustic instruments. The four players blend seamlessly into each other's sound worlds creating a dynamic and multifaceted music.
Personnel:
Frantz Loriot - viola
Raphael Loher - piano
Carl Ludwig Hübsch - tuba
Carlo Costa - percussion
Recorded live at Café de Paris in Paris, France on November 23rd, 2019, by Jean-Marc Foussat. Mixed by Carl Ludwig Hübsch. Mastered by Giuseppe Ielasi. All music by Diaphane. Cover photo by Cesare Baccheschi and Frantz Loriot.
Release date: September 16, 2021
Frantz Loriot interviewed by Kenny Warren in August 2021 for the release of Paris
Press
“The great success of this piece is that we can listen to and enjoy the entire work without feeling any sense of “improv fatigue”; the players are pacing themselves, and though there may be occasional energy-bursts where the actions reach a temperature of roughly 85 degrees, it’s not exhausting. Furthermore, not everything is playing at once, and the very natural and instinctive laying-out and restraint exhibited by the players creates a spontaneous dynamic, which makes for a very satisfying listen. With cover photography by Loriot and Cesare Baccheschi which seems to find abstract art in the splodges of colour on a white wall. Another fine addition to this splendid label’s discography and a top-notch example of intense, collaborative, and intelligent improvisation.” (July, 2022)
“Diaphane is a new ensemble with Frantz Loriot (France/Japan) on viola, Raphael Loher (Switzerland) on piano, Carl Ludwig Hübsch (Germany) on tuba and Carlo Costa (Italy) on percussion. From the start they take the listener on a fascinating 36 minute journey of musical surprises. Regardless of the instruments used, all sounds are fresh, unexpected, and - like often in Costa's music - they have an organic or natural quality. Loriot and Costa have performed and recorded often before, and the match with the two other musicians is perfect. Carl Ludwig Hübsch's tuba is not only a fantastic addition to the ensemble, but his view on the flow and continuity of the development of musical narratives is really close to what the label has produced so far. Raphael Loher we did not know, and his piano work is a real discovery.
Diaphane is a French word that means something like "translucent", meaning that light can shine through a window without being able to identify the objects behind the window. In English "diaphanous" means "characterized by extreme delicacy of form" (Webster's). Both are adequate to describe the music, even if not everything is fragile.” (December, 2021)
“Each performer is equally tuned in and involved in their collective communication. A very ‘democratic’ affair. They make use of extended techniques that leads up to a wide range of sounds and colours. It is often clear who is doing what, but sometimes this isn't easy to identify. This sometimes evokes the experience of the music is one organic whole, one undivided movement where it is absolutely not relevant anymore to register who is doing what. Although the pleasure of listening to this (and any) kind of improvisation is also to experience the high communicative level reached, which certainly counts for this excellent recording. The vibrant improvisations continue in a very natural flow and are very lively. Fragile and full of details on the one hand, very focused and together on the other. There is much to be observed and to be enjoyed in these multi-coloured and strongly interconnected improvisations. A joy!” (November 2021)
“With this CD not overstaying its welcome while maintaining our close attention, the multi-national Diaphane quartet confirms the vitality and ingenuity of a program improvised out of diaphanous whole cloth.” (November, 2021)
“Und erschaffen da eine ganz merkwürdige Klangwelt aus steinigem Klopfen, tockenden Töpfen, schlierigen Wischern und flötenden Pfiffen. Die wuppernd ploppende Tuba mischt sich, selber dann nur noch fauchend, mit Basstrommeltupfern, während das Piano, präpariert, dazu einen Gamelanklingklang flockt. Die Bratsche wie gepresstes Blasen, in federnden kleinen Sprüngen, die Tuba in tiefster Tiefe murrend oder mit sonorem Du da, Costa mit klickender Triangel, schrottigem Nesteln, mysteriös sirrendem Bowing. Wobei sich das öfters mal ununterscheidbar überlappt. Costa harft ein Gitter und paukt hinkenden Zweiklang, Loriot summt einen Dauerton, Hübsch grollt, pulsiert, schnaubt, Loher pingt und arpeggiert auf einem kaum handbreiten Fleck. Klangarme Kratzer, diskantes Flautando und zittrige Bratschenstriche verschmelzen mit rappeliger und ratschender Krimskrams-Percussion und diese trifft in erregt hagelnder, schrillender Eskalation auf trappelige Pianomonotonie. Arte Povera entfesselt sich zu einem aus der Leinwand quellenden Pollock. Und diminuiert zurück ins Zarte und Stille.” (September 2021)