Wednesday, March 30, 2016

NYC in Spring 2016 = Adam Rudolph: Premieres at Roulette, Residency at The Stone + an All-Star Guitar Orchestra

Composer, Improviser, Conductor, & Percussionist
- Adam Rudolph -
Celebrates Springtime 2016 in New York City
in an Unprecedented Burst of Creative Activity,
Debuting 4 New Commissions at Roulette &
Curating a One-Week Residency at The Stone

Following the Winter release of several significant new recordings, including the first-ever Go: Organic GUITAR Orchestra album - his first Cuneiform release, Rudolph embarked on an extensive European tour before returning to New York City to perform a series of commissions at Roulette in April 2016 and curate a week-long residency at The Stone in May 2016 performing with his various orchestras and ensembles.

Based in NYC, Adam Rudolph has long been a key figure in the jazz, creative/classical and world music communities, working both solo and in long-term collaboration with such renowned musicians as Yusef Lateef. A composer, bandleader, and percussionist, he is deeply immersed in hybrid music and interactive live performance using written and graphic charts and conducted improvisation. Rudolph performs with a wide variety of ensembles, ranging from solos to duets (an April 2016 Midwest tour with Hamid Drake) to large orchestras.

One of Rudolph's main focuses since the new Millenium's dawn has been to transform the Western / Classical concept of "orchestra" to make it relevant for the 21st century. For the last 15 years, he has been widely acclaimed for his Go: Organic Orchestra, which features a variety of classical, ethnic and modern instruments. The Go: Organic Orchestra's live performances, described as "visionary" by the New York Times, are legendary, with Rudolph frequently conducting the group at festivals worldwide.

In 2014, Rudolph assembled a new, all-guitar version of Go: Organic Orchestra and went into the recording studio. Cuneiform Records released Guitar Orchestra's debut album, Turning Towards the Light, in late 2015. The album consists of eleven world-renowned guitarists including Rez Abbasi, Nels Cline, Damon Banks, Marco Capelli, Liberty Ellman, David Gilmore, Joel Harrison, Miles Okazaki, Kenny Wessel, Jerome Harris and Marvin Sewell will play from music charts composed by Adam Rudolph, while he also conducts improvisations for three album release concerts in Baltimore, MD, Philadelphia, PA and Brooklyn, NY.

Celebrating this release, the Go: Organic Guitar Orchestra will perform on May 29th as the grand finale of Rudolph's week-long 2016 residency at The Stone.

Those interested in Creative Music - breathtaking contemporary music that defies single genres, encompassing jazz, classical, world & more - and those interested in maintaining the relevancy of the orchestra and classical music in the 21st century should check out Adam Rudolph's upcoming performances at Routlette and at The Stone. These shows are not to be missed.



- Roulette -

Brooklyn, New York
Four Premieres from Adam Rudolph's Interpretations Series
also: Interactive Solo & Ensemble works by Composer Marek Cholononiewski
April 14th, 2016

Thursday April 14

509 Atlantic Avenue
Brooklyn, New York 11217
tickets: $20; $15 for students/Seniors
for more info:

Interpretations Series - Four Adam Rudolph Premiers:
World premieres of 2 works commissioned & performed by the Momenta String Quartet:
"Morphic Resonances" composed by Adam Rudolph (2013, revised 2016)
"Syntactic Adventures - in Memoriam Yusef Lateef" (composed by Adam Rudolph (2016)

NYC premieres of 2 works performed by Oberlin Percussion Group - Michael Rosen, dir:
"Orbits" (for Percussion Quartet) composed by Adam Rudolph (2014)
commissioned by Oberlin Percussion Group
"Orbits II" (for Percussion Quartet and Handrumset soloist)
performed by OPG with Adam Rudolph - Handrumset and percussion

- The Stone -
Adam Rudolph One-Week Residency
May 24th-29th, 2016

The Stone
at the corner of Avenue C and 2nd St.
New York, NY 10009
$15/set (no advance sales)
(212) 473-0043

Tuesday, May 24th
Adam Rudolph Quartet:
Adam Rudolph – handrumset (kongos, djembe, tarija, zabumba), thumb pianos, sintir, multiphonic vocal, percussion
Marco Cappelli - acoustic guitar, looping and electronics
Kaoru Watanabe - noh kan, fue, c flute
James Dallatacoma - electronic processing
10:00 pm
Adam Rudolph Solo with electronics:
Adam Rudolph – handrumset (kongos, djembe, tarija, zabumba), thumb pianos, sintir, multiphonic vocal, percussion;
James Dellatacoma - electronic processing

Wednesday, May 25th
8:00 pm
Electro-Acoustic Trio:
Adam Rudolph - electronic processing, handrumset (kongos, djembe, tarija, zabumba), thumb pianos, sintir, multiphonic vocal, percussion
Graham Haynes - cornet, flugelhorn, percussion, electronics
Aruan Ortiz - piano, electronics, lap top
10:00 pm
Go: Organic Woodwind Orchestra:
Composed and improvisationally conducted by Adam Rudolph
Sylvain Leroux - tambin fulani flute, c flute, bamboo flutes
Michel Gentile and Z!" Luis Oliveira - C and alto flute, bamboo flutes
Kaoru Watanabe - noh kan, fue, c flute
Batya Sobel - oboe
Sara Schoenbeck - bassoon, sona
J D Parran - contra alto clarinet, bamboo flute, kalimbas
Ned Rothenberg - B flat & bass clarinet, shakuhachi
Ivan Barenboim - B flat clarinet, bamboo flutes
Sean Sonderegger - contra bass clarinet, & bass clarinet

Thursday, May 26th
8:00 pm
Dave Liebman and Adam Rudolph Duet:
Dave Liebman - soprano and tenor saxophone, assorted flutes
Adam Rudolph - handrumset (kongos, djembe, tarija, zabumba), thumb pianos, sintir, multiphonic vocal, percussion
10:00 pm
Go: Organic String Orchestra
Composed and improvisationally conducted by Adam Rudolph
Elektra Kurtis, Julianne Carney, Sana Nagano, Trina Basu, Sarah Bernstein, Mark Chung - violins
Gwen Laster, Melanie Dyer, Stephanie Griffen - violas
Marika Hughes - cello
Marzo Reis, Emma Alabaster - contrabass

Friday, May 27th
8:00 pm
Gift of the Gnawa plus special guest Steve Gorn:
Hassan Hakmoun - sintir and vocal
Adam Rudolph - handrumset,udu and cajon
Steve Gorn - bansuri flute
Abderahim Hakmoun - qarqaba and vocal
10:00 pm
Gift of the Gnawa plus special guest Graham Haynes:
Hassan Hakmoun - sintir and vocal
Adam Rudolph - handrumset and cajon
Abderahim Hakmoun - qarqaba and vocal
Graham Haynes - cornet

Saturday, May 28th
8:00 pm
Adam Rudolph's Moving Pictures:
Adam Rudolph - compositions, handrumset (kongos, djembe, tarija, zabumba) , thumb pianos, sintir, multiphonic vocal, percussion
Graham Haynes - cornet, flugelhorn, percussion, electronics
James Hurt - drums percussion
Kenny Wessel - el. guitar, electronics,banjo
Alexis Marcelo - fender rhodes, piano, percussion
Damon Banks - el. bass
10:00 pm
Adam Rudolph's Moving Pictures:
Adam Rudolph - compositions, handrumset (kongos, djembe, tarija, zabumba), thumb pianos, sintir, multiphonic vocal, percussion
Graham Haynes - cornet, flugelhorn, percussion, electronics
James Hurt - drums percussion
Kenny Wessel - el. guitar, electronics, banjo
Alexis Marcelo - fender rhodes, piano, percussion
Damon Banks - el. bass

Sunday, May 29th
8:00 pm
Hu: Vibrational presents The Epic Botanical Beat Suite:
Jame Dellatacoma - electronic processing
Adam Rudolph - compositions, bata, slit drum, rebolo, gankogoui, udu, percussion
James Hurt - sogo, kidi, igbo bell, udu, percussion
Matt Kilmer - frame drum, djembe, kanjira, udu
Tim Kieper - dusun’goni, pandiero, udu, percussion
Keita Ogawa - earthtone drum, frame drum, hadjira, pandeiro, udu, percussion
Joe Hertenstein - gongs, cymbals, udu, percussion
John Hadfield - frame drums, udu, percussion
Shane Shanahan - frame drums, , pandeiro, udu, percussion
10:00 pm
Go: Organic Guitar Orchestra:
Composed and improvisationally conducted by Adam Rudolph
Nels Cline, Rez Abbasi, Miles Okazaki, David Gilmore, Marco Cappelli, Liberty Ellman, Joel Harrison, Kenny Wessel - electric guitars and electronic processing
Damon Banks - bass guitar
Jerome Harris - electric guitar and bass guitar

We look forward to seeing you at these very special concerts!
Please help us to spread the word about these shows.

Concert booking: Adam Rudolph and his groupings are available for festival bookings worldwide. To book a show, please contact



Cuneiform Records 2015

STREAM/SHARE: "Heliotropic"

Cat. #: Rune 406, Format: CD / DIGITAL DOWNLOAD
Genre: Guitar / Improv / Experimental / Jazz / Creative Music

Go: Organic Guitar Orchestra:
Rez Abbasi - electric guitar
Damon Banks - electric bass guitar
Marco Capelli - acoustic guitar, effects
Nels Cline - electric guitar
Liberty Ellman - electric guitar
David Gilmore - electric guitar
Joel Harrison - electric guitar, national steel guitar
Jerome Harris - electric guitar, electric bass guitar, lap steel guitar
Miles Okazaki - electric guitar
Marvin Sewell - electric guitar, electric slide guitar
Kenny Wessel - electric guitar, banjo

Composed and improvisationally conducted by Adam Rudolph

Produced by Adam Rudolph

"Guitar Moderne: Spotlight: Adam Rudolph's Go: Organic Guitar Orchestra," Michael Ross, Guitar Moderne, March 4, 2015
“On the shortlist for the best modern guitar record of the year is Turning Towards The Light [Cuneiform Rune 406], by Adam Rudolph’s Go: Organic Guitar Orchestra. In part because it features ten of the most accomplished, forward thinking jazz guitarists in New York, which, when it comes to jazz, means the world. Rez Abbasi, Nels Cline, Liberty Ellman, David Gilmore, Miles Okazaki, Marco Capelli, Jerome Harris, Joel Harrison, Kenny Wessel, and Marvin Sewell, join Damon Banks on bass to form an ensemble unlike any you have heard.
Turning Towards The Light is must listening for anyone who wants to hear great music that is not about ‘guitar,’ but nevertheless couldn’t have been made by any other instruments. Rudolph took time to explain his organizational system and the process of forging 10 disparate instrumental voices into a cohesive unit...”
read the interview:

Glenn Astarita, All About Jazz:
“This acoustic-electric guitar summit by an upper-echelon congregation of modernists...
The guitar ensemble merges a multitude of genres and stylizations, including Avant expressionism, folk and rock amid lofty jazz improvisation campaigns. Moreover, the musicians fuse subtle rhythmic ostinatos with gently ascending motifs and a myriad of tonal contrasts, where the acoustic element casts an organic tinge alng with numerous solo spots and contrapuntal excursions. Consequently, the artists' mode of attack isn't relegated to a melee or cutting contest, as Rudolph's conduction mehanism include free-flowing discourses and well-defined overtures...
...a thought- provoking sequence of musical events, often budging matters into another realm, starkly unlike conventional guitar summit fare. ...4/4 Stars”

Mark Keresman, New York City Jazz Record:
“Rudolph has assembled an incredible cast of string-benders, all jazz players but those with an eclectic/inclusive approach - Nels Cline is a member of the rock band Wilco as well as a free improviser; Marvin Sewell has accompanied Cassandra Wilson, David Sanborn and blues singer Queen Esther; and Joel Harrison’s albums have encompassed blues, country, folk, and a tribute to George Harrison....
This notable palette is part of what makes Turning Toward The Light so special. ‘Sun salutation’ is just that- the guitarists imparting their impression of a sunrise. Notes are sparse and ring like far-away bells, playing seems tentative, extended phrases sigh with the volatile promise of a new day.
Rudolph- who does not play on this album and does not play guitar- has created his own auditory universe, one in which jazz improvisation, rock imagination and audacity, minimalism and rhythmic aspects from African and Indian music interlace simultaneously. This is truly Music of the Spheres- his, ours, and some new ones we haven’t visited yet."

Pete Pardo, Sea of Tranquility:
“...Turning Towards the Light is a very 'guitar' centric album, and with the omission of drums, it's up to the various players to create not only the lead melodies but also the rhythms. Much of what you'll hear bridges both rock and jazz, often times crossing over between the two, but always with a metallic edge, as you will experience on the furious ‘Solar Boat’....
...'Sun Salutations’ and ‘Nommo’ tend to weave and meander, much like a cross between Terje Rypdal, King Crimson, and Bill Frisell, while the adventurous ‘Flame and Moth’ takes this almost into prog-rock territory....
Spacious, melodic, atmospheric, and at times raucous, Turning Towards the Light is ultimately a very pleasing listen to jazz, rock, and avant-garde fans, as well as all the guitar geeks out there. ...4/5 Stars”.

On the Winter Solstice of 2014 – the Northern Hemisphere’s longest night of the year – composer, bandleader & percussionist Adam Rudolph convened 11 of New York City’s finest and most adventurous guitarists in a New Jersey studio for a most auspicious event: the debut of Go: Organic Guitar Orchestra, his all-guitar orchestra. In attendance were guitarists Rez Abbasi, Nels Cline, Liberty Ellman, David Gilmore, Miles Okazaki, and Marvin Sewell, all on electric guitars and effects; Damon Banks on bass guitar; Marco Capelli on acoustic guitar, effects; Jerome Harris on electric guitar, electric bass guitar, and lap steel guitar; Joel Harrison on electric guitar and national steel guitar; and Kenny Wessel on electric guitar and banjo. Rudolph had assembled an all-star orchestra; each of these remarkable guitarists were composers and bandleaders in their own right, with a collective musical experience that spanned a universe of contemporary music, from Wilco to Cassandra Wilson to Ornette Coleman and beyond. The studio’s atmosphere on that dark November night was electric. With Rudolph at the helm, an antenna conducting musical charts and creative improvisational energy, the orchestra began to play. The result is this extraordinary release, Turning Towards the Light, the dawn of Rudolph’s visionary, all-guitar “Future Orchestra” and his first release on DC-based Cuneiform Records.

Turning Towards the Light is the 10th release in Adam Rudolph’s series of recordings for Go: Organic Orchestra, a concept for “new” global/creative orchestra that he began developing in 2001. His previous 9 recordings for Go: Organic Orchestra, released on Meta Records, featured an array of instrumentation to bring to life his rhythmically unique creative music. But for Turning Towards the Light, Rudolph envisioned a new kind of orchestral sound conveyed by a single instrument: guitars, whose strings, coaxed by the right hands, are capable of unleashing an orchestra of different musical sounds. He says: “I try to do something new with each performance and recording. This time I wanted to experiment with a new kind of orchestration. I felt that with their range of sound and rhythm, these 11 electric guitars could generate a sonic palate that had never been heard before. I was looking for a new kind of “Future Orchestra” – and I think we found it.”

Rudolph grew up and began playing music on the South Side of Chicago, performing with artists like Fred Anderson. By 1978 he was touring Europe with Don Cherry. Hailed by the New York Times as “a pioneer in world music”, in 1977 Rudolph began his collaborations with kora player Foday Musa Suso, followed by his work with the Gnawa musician Hassan Hakmoun, L. Shankar and other musicians from around the globe. His longest and most significant collaboration was with the great Yusef Lateef; from 1988 until Yusef’s passing in 2013 they performed as a duet and collaborated as composers on many large ensemble projects. “Even when I started focusing more on my own music projects in the early 1990’s, I would always make the time to tour and record with Yusef. I learned so much from him not only about music, but how to live a deeper more spiritual life.”

Since 1992, Rudolph’s primary outlet for his unique compositional vision has been his Moving Pictures ensemble. But in 2001, he founded Go: Organic Orchestra to expand his instrumentation. “I had always been interested in the idea of an orchestral concept of world music, and fascinated not only with the sounds but also with the organizing concepts that structure orchestrations from around the world. …the colotomic structure of Javanese Gamelan or the thematic fibers of a Bantu drum and trumpet orchestra are all valid ways of organizing orchestra. At the same time my approach to orchestra comes out of my work since 1974 in electronic music. With Go: Organic Orchestra, I feel the resonance of iconic electronic music composers such as Pierre Schafer, Stockhausen or Subotnick. And of course I am, like many creative musicians today, a student of the great 20th Century composers of the European tradition – Messian, Carter, Ligeti, Bartok and my personal favorite, Toru Takemitsu.”

[Adam Rudolph / Go: Organic Guitar Orchestra]

Rudolph has integrated and transformed these influences into a highly personalized language, a language whose rhythmic component, which he calls “Cyclic Verticalism,” combines polyrhythms (from African music) and rhythm cycles (from Indian music). Rudolph’s Go: Organic Orchestra has performed worldwide at music festivals and served residencies in such countries as USA, Turkey, Mexico, Italy, Finland, Denmark and Norway.

Rudolph’s process is more egalitarian and community driven than the top down structure of Western orchestra. “My idea is to get the most structural and aesthetic focus from the music with the least amount of reading. I want the musicians to bring their own voice, feeling, and phraseology to the music. In a kind of “de-composing” process, he creates graphic scores that consist of what he calls “pure elements” – “Interval Matrices,” “Cosmograms” and Ostinatos of Circularity”. Add to the process Rudolph’s unique conducting method. “Through trial and error I have invented my own way of conducting. As with the score, I wanted my conducting to yield as much interpretative range as I could get with the fewest, simplest and clearest gestures possible. I think of my conducting method as being more related to the idea of something that conducts electricity than someone who is always leading. When I begin a concert, I don’t know what is going to happen, how the music will unfold. After my initial gesture, as I hear the first sounds of the orchestra I follow the feelings and ideas of where the music flows. But we are all PREPARED due to deep study of the elements in the score. So the score, the musicians and myself as conductor, we all dialogue in a process which I consider “organic.”

With the Go: Organic Guitar Orchestrahe moves the idea of what an orchestra can actually BE resolutely into the 21st century. He states: “When you generate new creative processes, the result will be prototypical art.” On Turning Towards the Lightthe 11 guitarists sound in turn like a futuristic string section, percussion group, woodwinds, and brass. Rudolph says that his NOT being a guitarist was an advantage in leading this project. “Since I don’t play guitar, I don’t really think “guitaristically,” I’m thinking compositionally and percussively. Perhaps that led us into some areas we might not have gotten to otherwise. I have to say also that these musicians were so incredible – they were so generous in letting their virtuosity serve the musical moment. They played with so much imagination and soulfulness. I am grateful.”

Go: Organic Guitar Orchestra is a natural evolution for Rudolph’s orchestral vision. The music asks to be heard on its own terms; its unprecedented sounds and formulations invite the listener to set aside their preconceived ideas and expectations. Rudolph adds: “while I was mixing the recording I felt the music itself was so new that is was teaching me HOW to listen to itself. The act of listening to it became a creative activity. I think there are still people who like to engage music that way.”

To celebrate the release of Turning Towards the Light, Go: Organic Guitar Orchestra will be playing shows in major cities along the East Coast, in venues including Roulette and Ars Nova. The all-star guitar orchestra is also available for festival bookings worldwide.


[WATCH: Adam Rudolph/Go: Organic Guitar Orchestra Live @ Fringe Arts, Philadelphia, PA - 11.22.2015 - #1]



If you'd like to share music from this release with your readers/listeners, please feel free to use the following track:


ARTIST WEB SITES // - @Facebook -


Friday, March 25, 2016

Happy Easter! Celebrate Spring with the first work performed live on MiniMoog

Untitled Page


Cuneiform Records Celebrates the
46th Anniversary of
"Easter", the First Composition that
Composer/ Keyboardist/ Electronic Music Pioneer
David Borden
Created for Moog Synthesizer, and the
World's First Live Performance with a MiniMoog
with a Free Stream of
as Recorded by Mother Mallard's Portable Masterpiece Company and Released by Cuneiform on the album:

Forty-six years ago - on Saturday, March 28th the eve of Easter Sunday in 1970 - David Borden composed "Easter", his first tonal pulse-piece for the Moog synthesizer. Working throughout the night at Bob Moog's Trumansburg studio during Easter weekend, he completed his multi-layered piece at 4am that Easter morning, March 29th.

Two weeks later, on April 10 and 11, 1970, Borden and fellow Mother Mallard member Steve Drews performed "Easter" at Cornell University in the Willard Straight Theater. Borden used a Minimoog A; this was the world's first performance using a Minimoog A in a live concert. Moreover, Mother Mallard's April 1970 concerts at Cornell marked the first-time that ANY portable synthesizer was ever used for a live concert.

That summer, on June 30, 1970, Mother Mallard again used Moog's prototype Minimoog A to perform "Easter" in New York City's Trinity Church. This June 1970 concert marked the debut of the MiniMoog in New York City. Mother Mallard would perform Easter again the following year, on Easter Sunday 1971, at Cornell University's Sage Chapel.

"Easter", born in the Spring of 1970, heralds the Dawn of the Age of Electronic Music, both technically and symbolically. This David Borden work marks the debut of compositions created for, and works performed on the legendary MiniMoog.

Cuneiform is thus providing this stream of "Easter" in late March-April 2016, to celebrate the first live performance of Easter using the MiniMoog equipment by the world's first all-synthesizer ensemble, Mother Mallard’s Portable Masterpiece Co., founded by David Borden with Steve Drews.

When Robert Moog, inventor of the voltage controlled electronic synthesizer, introduced David Borden to his newest creation, the groundbreaking experimentation and creative performances that followed would echo throughout music history for decades to come.

Formed in 1969 in Ithaca, Mother Mallard's Portable Masterpiece Co. was one of the few to begin experimentation with such equipment, earning them a place in history within an exclusive group of pioneers such as Terry Riley, Philip Glass, and Tangerine Dream. Critically acclaimed as a group whose work was ahead of their time, the ensemble would set groundwork for the experimental classical minimalists and live synth-ensembles of the future. Over the years, the group expanded its instrumentation to include acoustic and other electric instrumentation alongside the Moogs. After Apple released its iconic personal desktop computers in the 1980s, Mother Mallard adopted that new digital technology as eagerly into its live performances as it had adopted analogue MiniMoogs. Today, Mother Mallard performs using Apple laptops to produce their distinct sound, but still pays tribute to their roots by featuring a Moog Voyager, Dr. Moog's last synthesizer design.

David Borden is one of the foremost exponents of live electronic and minimalist music. He has been active on the new music and contemporary classical scenes for two decades. He first came to attention as the driving force behind Mother Mallard, the world's first all synthesizer ensemble. He would later go on to write for multiple vocal ensembles as well as film scores for several movies. With degrees from both the Eastman School of Music and Harvard University, David Borden would combine his extensive music knowledge with the then cutting-edge technology of the MiniMoog synthesizer to create a new sound, and an unforgettable album.

1970-1973 collects the first album by Mother Mallard's Portable Masterpiece Co. and previously unreleased recordings. MMPMC were also one of the very first [possibly the first] performing synthesizer ensembles, working closely with Robert Moog, whose first factory was nearby. This material pre-dates or is contemporary with the first contributions to the genre and had been forgotten until now.



Cuneiform Records has released six albums by David Borden and Mother Mallard, including: two archival albums (1970-73, and Like a Duck to Water) that include the earliest recordings by Mother Mallard's Portable Masterpiece Company; three discs containing the complete Continuing Story of Counterpoint, Borden's masterwork of minimalism (which critics have praised as "the Goldberg Variations of minimalism"); and a volume of Borden's more atmospheric compositions, called Places, Times and People.

For more information on Borden's releases on Cuneiform, please see:

Mother Mallard's Portable Masterpiece Co.
Like A Duck To Water


Mother Mallard's Portable Masterpiece Co.


David Borden
Places, Times & People

David Borden
The Continuing Story Of Counterpoint
Parts 1-4 + 8 (Complete)

David Borden
The Continuing Story Of Counterpoint
Parts 5-8

David Borden
The Continuing Story Of Counterpoint
Parts 9-12

Friday, March 11, 2016

Schnellertollermeier Tours Europe March-June 2016

Schnellertollermeier Tour Europe 2016

Tours Europe
March-June 2016

The brutal-jazz power trio Schnellertollermeier (guitarist Manuel Troller, bassist Andi Schnellmann, and drummer David Meier) doesn't screw around. Their uncompromising attitude is even apparent before you hear a note of their music -- it's right there in that deliberate tongue-twister of a name. Their fresh and uncompromising mix of jazz, punk, rock, sound and free improvised music, combined with great musicianship, interplay and a lot of energy, immediately hits the bullseye!

The trio is ON TOUR NOW!

[WATCH: Schnellertollermeier @ Schaffhauser Jazzfestival 2015]

“Together [Schnellertollermeier] operate as one compact organism. This organism is savage and dangerous, but can be caressing and dreamy when it wants to…. They search for, and explore the unusual… It’s safe to say there’s nothing quite like Schnellertollermeier’s music out there at the moment. With X, we get the trio at its finest form, twisting, stabbing and swirling, with full, merciless power. Elements of rock, jazz, metal, noise, industrial and ambient, are all there, but woven and merged in a genre-defying way. The six compositions simply burst with electrifying energy and edgy experimentalism, providing a skull-shattering, mind-boggling and body-stimulating experience. X is ambitious and wonderfully bizarre and hectic."
- Igloo Magazine


"The Best Music of 2015 - A Banner Year for  the Bold: Schnellertollermeier...marries brutality to avant-garde rock and jazz. A classic power trio from Switzerland, the band plays with punk fury and a dazzling technical dexterity to create booming, bone-rattling music that stalks, confronts, and astonishes.”
- Wall Street Journal

 European Tour Dates 2016

Friday, March 11
8:30 PM
 The Grand Social
35 Lr Liffey Street
Dublin, Ireland- Dublin, Ireland

Sunday, March 13

 Drop The Dumbulls
Slater St
Liverpool L1 4BX, United Kingdom

Monday, March 14

Mothers Ruin
7-9 St Nicholas St
BS1 1UE, Bristol, UK

Wednesday, March 16
8:30 PM

5 Clarendon Rd
London N22 6XJ, United Kingdom

Thursday, March 17

Number 39
Hopstar Brewery Tap 39-41
Bridge Street Darwen Lancashire BB3 2AA Darwen, UK

Friday, March 18
9 Burley St
Leeds LS3 1LD, United Kingdom

Saturday, March 19

Dulcimer Bar
567 Wilbraham Rd
Manchester M21 0AE, United Kingdom

Wednesday, March 23

 "Mal Acht" at Südpol
Arsenalstrasse 28
6010 Kriens
Luzern, Switzerland

Wednseday, March 30

"Mal Acht" at Südpol
Arsenalstrasse 28
6010 Kriens
Luzern, Switzerland

Friday, April 1

Grabenstrasse 57
8500 Frauenfeld, Switzerland

Wednesday, April 27

"Mal Acht" at Südpol
Arsenalstrasse 28
6010 Kriens
Luzern, Switzerland

Tuesday, May 3
"Mal Acht" at Südpol

Arsenalstrasse 28
6010 Kriens
 Luzern, Switzerland

Thursday, May 12

Bahnhofplatz 2 (Posthalle)
97080 Würzburg, Germany

Friday, May 13

 Moers Festival
Moers Kultur GmbH
Ostring 9
47441 Röhre - Moers, Germany

Wednesday, June 1

"Mal Acht" at Südpol
Arsenalstrasse 28
6010 Kriens
Luzern, Switzerland

Wednesday, June 15

"Mal Acht" at Südpol
Arsenalstrasse 28
6010 Kriens
Luzern, Switzerland

Saturday, June 25

Bau 4
Albüron, Switzerland

Saturday, June 25

"Mal Acht" at Südpol
Arsenalstrasse 28
6010 Kriens
Luzern, Switzerland

For Tour Updates, see:

For more information on Schnellertollermeier see:


On X, Switzerland’s Underground-Rock Emerging Stars
Sharpen their Edge, Intensify their Vision
& Carve Out a Spot on the Global Stage

“Schnellertollermeier’s X makes a statement about what is possible for the guitar trio in terms of composition and performance in the 21st century, yet asks many new — and at the moment unanswerable — questions about them as well. It rocks.”
- AllMusic


STREAM/SHARE: "X" [excerpt]

Cat. #: Rune 402, Format: CD / DIGITAL DOWNLOAD
Genre: Rock / Experimental / Brutal Jazz / Minimalist Rock

Schnellertollermeier is
Andi Schnellmann
- Bass
Manuel Troller - Guitar
David Meier - Drums

All arrangements by Schnellertollermeier.
Compositions 1, 5, 6 by Troller; 3 by Meier; 2 & 4 by Schnellmann/Troller/Meier.

Engineered by Willy Strehler
Recorded in April 2013 by Thomas Gabriel at Gabriel Recording, Stalden, Switzerland
Mixed by Willy Strehler and Schnellertollermeier at Klangdach, Guntershausen, Switzerland
Mastered by Willy Strehler
Design and band photo by Camillo Paravicini
Produced by Schnellertollermeier
Co-produced by The Lucerne School of Music

Brutal jazz /minimalist rock power trio Schnellertollermeier don’t screw around. Their uncompromising attitude is even apparent before you hear a note of their music -- it's right there in that deliberate tongue-twister of a name. On X, their Cuneiform Records debut, Schnellertollermeier boldly emerge from their key position in Switzerland’s underground rock scene with sharpened sonic knives, dialed up intensity, and laser-edged tunes to carve out a spot for themselves on the international stage. X is the young trio’s third recording, and in it they don't merely redefine their sound, they reinvent it. The tunes the band came up with -- after cloistering themselves away in a house in the Swiss mountains that served as their musical mad-scientist's laboratory -- recast the traditional function of the guitar-bass-drums lineup, expanding it into new territory and combining the brute force of Schnellertollermeier's 2008 debut with the conceptualism of their second album for something that's ultimately beyond the scope of either one. The Alps had given the trio space to let their imaginations soar. Against the sublime mountain backdrop, they perfected stark, powerful compositions and expanded their ideas. While later recording, they continued their experiments, playing with sound, and even recording reflections on glass to enhance their music’s natural brilliance.

The resultant album, X, is a masterful work of instrumental musical intensity. The songs, whether long or short, crushing or ambient, have absolutely no padding on them. The challenging, sometimes downright confrontational mix of jazz, minimalism, experimental rock, noise, punk, free improv, modern composition, avant-garde and electronic influences erupting throughout X is what this genre-blind trio of 30-year-old musicians effortlessly, even unconsciously, does, obeying only internal logic. Refreshing, highly-energized and original, their music can perhaps be compared with other beyond-genre bands, a crossing of Zs, Marc Ribot’s Ceramic Dog and Ben Frost.

The album is named for the 20-minute title suite that occupies its first half, though "occupies" is probably too passive a term for a piece that alternately hammers you into submission and plays a haunting hide-and-seek game with your nervous system via its sturm und drang dynamics and breathtaking stop-start structures. “X,” the record's centrepiece, is a suite composed of four parts, and named after the letter that “stands for these four parts”.  On “X,” the trio aimed to become more like a single mighty instrument than three distinct players. It's an idea that can be traced at least as far back as Ornette Coleman's concept of "harmolodic" music, where the whole band is playing the melody, harmony, and rhythm together instead of individual instruments staking out exclusive territory. But when it comes into play via the piledriver rhythms and crushing riffs of this album's namesake cut, it makes for a strikingly visceral impact – you don't so much listen to the music as feel it…in your gut.

The rest of the record hits just as hard, even when the band drops the dynamics down a touch. Just as it was originally envisioned, X is truly the sound of Schneller, Troller, and Meier disappearing into the bigger, bolder entity that is Schnellertollermeier, from the almost tribal beats of "Backyard Lipstick" to the careful balance between control and chaos played out in "Riot," which offers an idea of what it might feel like to live inside a cuckoo clock; from the dark ambience of "Sing for Me" to the thrash-progfrenzy of "Massacre Du Printemps" and the cinematic sprawl of the expansive-but-urgent minimal/post-rock closing cut, challengingly titled "///\\\///."

Listening to the album, one doesn’t focus on any single performer; in fact, the band felt that here it had finally achieved its goal to “sound like one compact organism, with every element having its own importance and clear function.” Schnellertollermeier’s very name celebrates the fact that it is a single-minded entity, a trio of musicians melding their minds and functioning as a single organism. The band’s name is a creative -- as opposed to literal -- combination of the 3 members' surnames. Guitarist Manuel Troller, bassist Andi Schnellmann, and drummer David Meier, are all eclectic souls versed in the realms of rock, jazz, classical, and more. Schnellmann earned a degree from the Jazz School of Lucerne and toured with the international Swiss Pop Star Sophie Hunger; so did Troller, who studied with British art-rock guitar legend Fred Frith and has collaborated with for example famed U.S. jazz drummer/composer Gerry Hemingway and internationally acclaimed jazz-funk conceptualists Nik Bartsch's Ronin Rhythm Clan; Meier also works with improv outfit Things to Sounds, plays in Christoph Gallio’s Day & Taxi and in the international band Trio Riot among others.

While two of the bandmembers had known each other since High School, Schnellertollermeier formed in 2006, when their paths again crossed at the School of Music in Lucerne. They made their debut recording in 2008, the album Holz, whose influences ranged from Tim Berne to John Abercrombie to Mr. Bungle and more. Blending fiercely heavy rock, left-field jazz, and daring free improv in a dizzying sonic swirl, Holz struck a sonic nerve in Switzerland and generated significant buzz. The album and frequent live shows helped transform Schnellertollermeier into underground sensations. The trio soon started working on new material, seeking a more personal sound, both compositionally and improvisationally. The follow-up album, Zorn einen ehmer üttert stem!! (Veto Records), came out in 2010. It simultaneously expanded and refined the band's musical vocabulary, as new elements from modern classical music, minimal and experimental music, and noise found their way into Schnellertollermeier’s playing and composing. Enthusiastically received by critics and the public alike, Zorn… led to Schnellertollermeier playing in prized clubs in their homeland, and in numerous festival performances abroad, from Austria to Russia.

On X, Schnellertollermeier transformed their sound again into something new, and larger; former 'traditional jazz' elements have been subsumed by the brute energy from rock and experimental music, as well as improvisational soundscapes, minimal music and, finally, jazz in the modern, broad, experimental sense. After writing their compositions in the Alps, and before recording, the group test the material on the road, touring extensively in Switzerland, Russia and Austria.

Finally, they painstakingly recorded it, going beyond any procedures they’d previously done on their own or others’ recordings. In their words:

“For the recording, we also did a lot of research, planned the room/studio/miking-situation really precisely. We used many more microphones than we ever did before (also more than in other bands’ recordings) – For example, the drums and its room were recorded with 14 microphones, also recording the reflections on glass to get a lot of natural brilliance. As you would imagine, the mixing process was exciting, but also sometimes a b****“!”

With the intensity ratcheted up even further than before, the compositional approach more all-encompassing than on previous albums, and the overall sonic heft of the band reaching what can only be considered maximum capacity (at least for normal human beings), X stands as Schnellertollermeier's most resonant recording to date. Following X’s worldwide release, Schnellertollermeier will be touring extensively in Switzerland and at jazz, rock and experimental music festivals abroad.

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“This young Swiss trio with the tongue twister moniker… helps redefine the conventional guitar-led power trio format and succeeds on many fronts. It's an adrenalized outfit that abides by a thunderous posture, amalgamating progressive rock, metal, minimalism and Sci-Fi style free improvisation amid devastating bass and drums interactions. At times, the band's high-volume force-field could make Black Sabbath sound like a hotel lounge act. “
- All About Jazz