Rolf Schimmermann — Oestrogeneties VIII - XIV Extended

Rolf Shimmermann and Roli Mosimann - Oestrogeneties VIII - XIV Extended

There's nothing to do - The meaning of life is only to be found in stinking normal everyday life - Everything comes and goes; this casual summary of a lifelong reflection of a thinker from the East comes to my mind when I write this teaser or press release to this music. Why? To get to grips with the "Ostrogeneties 8-14" requires an unusual approach. Even with a stylistic classification I have to pass. Sure, it is (also) jazz. Jazz can be many things, it is tolerant, open to the top, not yet defined. Here and there it sounds quite rocky, but it is definitely not rock music, I can write the same about pop music or even western art music.

Well: This music has done it. It pauses. Pause and just let it happen. Passing also in the sense of walking through. This is for me the "there is nothing to do". The triggering moment completes the identification with the head cinema generator turned on under the "normal everyday logic of life" with a constant "coming and going". This process is not in vain, however, in order to be successful, in order to give meaning to hearing.

It requires the repetition of this process in order to grasp it comprehensively in its multi-layered construction. And man must fade out old memories, not let them compete.

Admittedly, it seems far-fetched. Nevertheless, it brings me closer to this music, I can continue to spin freely.

The "Oestrogeneties" is a two-part work. 14 pieces (or songs) in total. 7 piano-solo pieces, the second 7 the enriched interpretation of the first 7. This enriched version is what we are talking about here.

The light elegance of the piano solos is enriched by most exciting ingredients. At this point Roli Mosimann comes into play. In the true sense of the word. His past as a key producer of, among others, "The Young Gods" and "Celtic Frost" seems confusing at first to the compatibility of the rather minimalist, "estrogenic" piano music. Testosterone against oestrogen. Can this go well?

Mosimann is not "only" a producer, he is also a drummer and an electronic musician. This promises exciting soundscapes and good timing.

First of all, the piano was sent through all kinds of devices, and then several other musicians joined in.

Mostly from southern Africa, additionally from India, Senegal, Poland and Switzerland. No - it is not a multicultural or ethno album. It is more a staggered conference or arena from the melting pot of origin and brains.  How did these different musicians react improvisatory to the template. Electrifying interactions emerged, from near and far, positively amazing, multi-layered and - emotionally!

To the piano came the electronic, electric supplement. Afterwards the "Kora" by Tarang Cissoko (Senegal; Siselabonga/Blind Boy De Vita Glauco Cataldo), the sitar by Kanada Narahari (India, South Africa), Tabla and Santoor by Manesh Ramjathan (India, South Africa), percussion, bow and flutes by brothers Sazi and Njeza Dlamini (South Africa).

The "Swiss League" with Matthias Abächerli, who also worked as sound engineer on site in South Africa and Switzerland, played double bass, Lobosch Grüter, the Lucerne native in Basel played the drums, Manuel Büchel the guitars and Verena Randall sang harmonies and two words with ambiguous meaning, I think.

The Pole Bond (Eklektik Ensemble/Miloopa) took the electric basses directly to Poland, where the piano was also recorded on a Fazioli Royal Grand.

Everything comes and goes. These estrogenties stay in my listening library, guaranteed!