BEELZEBUB’S TALES: REVISED
FMP : 1991
Alexander von Schlippenbach, piano; Evan Parker, soprano and tenor sax; Paul Lovens, “selected drums and cymbals.”
A series of musical reflections in 11 words (or less):
Bagetelles: Musical miniatures. Form started in 18th century.
Adopted and updated by Bartok and especially Webern.
(Bagatelle form also embraced domestically by John Zorn.)
Not trivialities, but saying more with less.
The limits enhancing not restricting creativity.
Discreet musical processes, each with their own distinct character.
Appropriate for European jazz players to embrace bagatelle format.
Sometimes better known for long-form blow-outs.
Here they offer bite size mood morsels.
No less intense. No less multidimensional. No less challenging.
But shorter, so you can spin them several times.
“Elster-Werda Nocturno” reminiscent of Dramolets by Brothers Quay.
“Beelzebub’s” a lounge act with the safety seal removed.
“Fux,” as a song title, replaces the previous, “too vulgar” name.
Henry Kaiser liked it.
Many thanks to Jost and FMP for kind permission to post.
Parker: “It is a slippery beast, improvisation.”
Schlippenbach on Parker: “Coltrane’s best pupil.”
On Lovens: “[L]ike Anthony Williams.”
Schlippenbach: “My approach has something to do with swing.”