1. The Two Lonely Schrimps - Joachim Badenhorst/Brice Soniano - 1.34
2. Two - Joachim Badenhorst/Brice Soniano - 5.42
3. Part 1 - Harmen Fraanje - 5.01
4. You're a Man not a Turtle - Joachim Badenhorst/Brice Soniano - 3.58
5. Lighea - Enrico Pieranunzi - 4.33
6. Rustle - Joachim Badenhorst/Brice Soniano - 7.29
7. Ligne de fuite - Joachim Badenhorst/Brice Soniano - 3.29
8. 'Round Midnight - Thelonious Monk - 2.10
9. Goodbye - Joachim Badenhorst/Brice Soniano - 3.25
10. Message From the Gyre - Joachim Badenhorst/Brice Soniano - 3.26
11. I Will Say Goodbye - Michel Legrand - 4.25
12. Visions - Joachim Badenhorst/Brice Soniano - 2.35
13. Lighea - Enrico Pieranunzi - 6.47
14. Flutter - Joachim Badenhorst/Brice Soniano - 5.43
Joachim Badenhorst: clarinets
Brice Soniano: double bass
Album title: Pianoworks/pianoworksn't
Catalogue number: SR1003
Artistic production: Rawfishboys
Production: Waso De Cauter
Recording: Brice Soniano - november 2008 at Studio Loos, The Hague, The Netherlands
Mix: Robbe Kieckens and Brice Soniano at Studio Gallinella, Ghent, Belgium
Mastering: Jules Fradet at Studio Dada, Brussels, Belgium
Artwork: Joachim Badenhorst
Pictures and design: Waso De Cauter - Deadline Constructions
"My creed for art in general is that it should enrich the soul; it should teach spirituality by showing a person a portion of himself that he would not discover otherwise. It's easy to rediscover a part of yourself, but through art you can be shown a part you never knew existed. That's the real mission of art. The artist has to find something within himself that's universal and which he can put into terms that are communicable to other people. The magic of it is that art can communicate this to a person without his realizing it. Enrichment, that's the function of music."
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When attempting to be in `the moment µ`, one might feel he exists. Is the role of the artist to discover what space there is and what kind of colors he should use to paint µ in the most accurate way? This is not so much a matter of style but more of alchemy of the moment. It is about right proportions, attitude of the different parties, artist and audience. They who come from one and another point meet in that certain moment µ. There are different factors influencing µ: the places where they meet and the time it takes place -what happened a long time ago, more recently, and what is about to come. The perception of the moment µ varies tremendously following which disposition one is in, and that influences µ as well.
In his book “the Mysticism of Sound and Music”, Sufi master Hazrat Inayat Khan says that “to attain spirituality is to realize that the whole universe is one symphony in which every individual is one note. His happiness lies in becoming perfectly harmonious with the symphony of the universe. (…) Music is the miniature of the whole universe, for the harmony of the universe is music itself, and man, being the miniature of the universe, must show the same harmony.”
Back in the fifties Claude Lévi-Strauss was bitterly expressing that our great civilization existed to the detriment of balance and harmony around it, already destroying ecosystems and creating the loss of variety of species, leading to a civilization surrounded by deserts of garbage and sand.
« Cette grande civilisation occidentale, créatrice des merveilles dont nous jouissons, elle n’a certes pas réussi à les produire sans contrepartie. Comme son œuvre la plus fameuse, pile où s’élaborent des architectures d’une complexité inconnue, l’ordre et l’harmonie de l’Occident exigent l’élimination d’une masse prodigieuse de sous produits maléfiques dont la terre est aujourd’hui infectée. Ce que d’abord vous nous montrez, voyages, c’est notre ordure lancée au visage de l’humanité (...) L’humanité s’installe dans la monoculture ; elle s’apprête à produire la civilisation en masse, comme la betterave. Son ordinaire ne comportera plus que ce plat. »
Extrait de "Tristes tropiques"
Thirty years later, Jacques Attali sees in music the warning call that differences which are so important to the evolution of species are in great danger in our tomorrow’ societies.
« Fin de l’histoire ? Retour de la violence primale ? En cela la musique est d’une extrême actualité ; pur signe, elle révèle une des principales contradictions de l’avenir : alors qu’aucune société ne peut durer sans structurer en son sein des différences, aucune économie marchande ne peut se développer sans réduire ces différences par la vente d’objets répliqués en série. La première, elle donne donc à entendre l’essentiel des contradictions des sociétés de demain: une recherche angoissée de la différence perdue dans une logique d’où la différence est bannie. »
Extrait de « Bruits » de Jacques Attali, 1977
“Piano works” is a study in progress based on melodic tunes took from the jazz piano repertoire. With its impressive appearance, its powerful tones, its complex mechanics, and seemingly perfect pre-pitched tones, the piano is the ideal symbol of the quintessence of Western civilization. Marvelous melodies were written on this instrument, and we present here different lectures of a few of these songs. Our aim is to play as honestly as possible, meaning forgetting the rules and forgetting our selves while in the moment µ, in order to only translate what we hear, what we feel. In these recordings, most of these songs are played rubato; sometimes some chords are prolonged, some other times the melody is hardly played.
“Piano worksn’t” is a tribute to differences, to these so called imperfections which make life being what it is, music being music, humans being humans. These improvisations were originally one piece of 7 different parts. We decided to separate the parts in 7 different tracks and to alternate in this CD songs and improvisations.
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Rawfishboys would like to thank all their friends, parents, teachers, family, audiences and everyone who helped and encouraged us to move onwards over these last years. Special thank you to Waso, Robbe and Jonas to make this cd possible and to Peter van Bergen for lending us the Studio LOOS and to Michiel Hollanders for borrowing his equipment.
This album is dedicated to Rawfrogboy.
16 - 21
Review from FREE JAZZ (English)
Rawfishboys - Pianoworks/Pianoworksn't (Spocus, 2010)
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The somewhat enigmatic title of the album can be explained: of the fourteen tracks four come from the piano song book by well-established jazz pianists, such as Thelonious Monk and Enrico Pieranunzi, and the rest are improvisations by this two very gifted young musicians that expand on it : Joachim Badenhorst on clarinet and Brice Soniano on bass.
So, no piano, just clarinet and bass, in wonderful duets that resonate with the melancholy and sadness of the original pieces,without strict adherence to melody and harmonics.
The end results is fabulous : it has the intimacy of chamber music, with both musicians transforming the undescribable warmth of their wooden instruments' into to the color of their tones, even in the free improvised parts. It is calm and lyrical and welcoming, usually slow ... but luckily with a great tasts for adventure, taking the overall sound into areas that are new, with gut-wrenching bowing on bass and hypnotic dark sounds coming out of the bass clarinet, or Badenhorst's unvoiced blowing at times that is more percussive than melodic.
But interestingly enough, the two musicians are called back from their wild excursions by the four composed pieces, which they play full of reverence and admiration for the original piano material, sounding astonishingly beautiful in the traditional sense of aesthetics, lightly dancing, warm and sad. The variation, the contrast between old and new, but also the similarities between them, the transposition of similar moods into different contexts, are what make this album really great. And of course the musicianship. Recommended!
Stef @ Free Jazz
Review from THE NEW YORK CITY JAZZ RECORD (English)
Rawfishboys is the name of the duo Belgian Joachim Badenhorst has with French bassist Brice Soniano. The tittle Pianoworks/pianoworksn’t refers to the fact that the songs on the disc spring from pianist/composers (Monk, Pieranunzi, Legrand) while the remainder of the tracks are improvisations.
This is a most quiet, pensive set, even when the music is free. “Rustle”, which finds both players eliciting harmonics from their instruments, hovers in an eerie stasis. Two versions of Pieranunzi’s “Lighea” find Badenhorst dissecting the haunting melody on bass clarinet initially and clarinet for the second version, which is twice as long. Soniano’s bass is deep and sonorous and accompanies Badenhorst with a mixture of contrapuntal lines and rich dark textures. Although the music tends to reside at the quieter end of the spectrum, it never bores. It’s the type of quiet that makes one want to listen more intently.
by Robert Iannapollo/The New York City Jazz Record – 2011
Review from DOWNTOWN MUSIC GALLERY (English)
Since moving to Brooklyn from Amsterdam, young clarinet great Joachim Badenhorst has kept pretty busy playing with a variety of local & international musicians like Han Bennink, Thomas Heberer, Simon Jermyn, Ryan Blotnick, Kris Davis, Steve Swell & many more. I caught Joachim's own local quartet with Jacob Wick as their guest just a couple of weeks ago at Local 269 and was blown away by their set once again. Mr. Badenhorst has also appeared on more than a half dozen discs over the past year or two, often in collaboration with new musicians that I wasn't familiar with previously like bassist Brice Soniano from this disc.
"The Two Lonely Schrimps" opens and is aptly titled since is a soft, sad and lonely intro. I dig the liner notes on this disc since they deal with philosophy and the way music affects the world. The music here is equally contemplative, giving us time to consider the sounds and what is behind these sounds. The pairing of bass clarinet and acoustic bass is a perfect blend of warm wood and strings resonating together. "Part 1" is sublime, haunting and perhaps even romantic. These pieces are often stripped down to a minimum so that each note counts and is bathed in careful suspense. The duo wrote most of their own pieces except for a few covers like " 'Round Midnight", "I Will Say Goodbye" (by Michel LeGrand) and a song by Enrico Pieranunzi. Even those covers fit into the luscious, hypnotic and spooky vibe that pervades this disc. The Rawfishboys provide us with a well-spent hour of stunning music and no, they don't smell bad either.
- Bruce Lee Gallanter, Downtown Music Gallery
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