* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project
118 Chapter 6 group relationships, elements of theatre, silences), while a certain aesthetic connection to jazz always remained.20 Bassists Jan Roder and 35-year-old Italian Antonio Borghini moved in relatively limited jazz-/Free Jazz-based circles,21 and so did Christian Lillinger - whose exuberant and energetic drumming (as often broken and clattering, as ferociously swinging) also occasionally extended into more textural and abstract areas.22 Owing to their strong individual voices (idiosyncratic instrumental timbres, âlicksâ, pitch materials, instrumental and interactional techniques) such musicians became immediately recognisable after just a handful of concerts, and the same was true of many Echtzeitmusik/(Post-)Reductionist and electronic musicians23 - 32-year-old percussionist/accordionist Hannes Lingens pointing out that: If Lucio [Capece] plays a long soft note on the bass clarinet I think I could recognise him. And, looking to fellow percussionist Burkhard Beins, describing how: [He] has these two stones that he makes circular movements with, and then he puts that on the drum, [and] he puts that off the drum... [If I] hear that on a recording... I would immediately know thatâs him.24 Just as Mahall and Delius mostly performed with jazz-related projects, Beins was a good example of a relative purist of Echtzeitmusik/Post-Reductionist and electro-acoustic circles, and he busied himself with a medium-sized spread of activities, none of which related overtly to jazz. Even within this scope, however, Beins changed his voice (and even his instruments) between projects - his regular improvising groups including Activity Centre (acoustic percussion, crystal-clear, exquisitely-placed small sounds, bowed chime bars, papers blowing in the air),25 the louder and more noise-based Perlonex (electronic and acoustic instruments), and the duo Mensch Mensch Mensch, where the second part of each concert consisted purely of electro-acoustic improvisation (with âtoysâ, mixing boards and specially designed electronic instruments).26 For Beins: 20 Whitehead describes how, regardless of the context, Delius maintains a âfurry post-[Ben] Webster tenor sound so big and blooming you hear all the tones inside one tone, offset by modern ideas about phrasing, harmony and formâ [Whitehead, 1998, 204-5]. Delius is half-Argentinian and was born in England, before moving to Bochum, Germany, aged 10. He also doubles on clarinet. 21 Borghini told me he found it difficult âto separate [musical] languagesâ. 22 As well as having played with most of the first-generation German Free Jazz musicians, Lillinger was active with the trio Dell-Westergaard-Lillinger, which focussed on what he called EnergiezustaÌnde (energetic states) - the traditional roles of vibraphone, bass and drums subsumed in a non-hierarchical, textural, group sound. 23 Turntablist JD Zazieâs repeated use of a sample of a doorbell was an obvious example, see p. 174. 24 See also Ekkehard Ehlerâs reference to Kai Fagashinskiâs clarinet sound on p. 61. 25 I saw Beins with varying percussion setups: one resembling a conventional drum kit, another resembling a classical set-up with a concert bass drum turned on its side. Both were accompanied by a selection of small objects such as zither, bows, chime bars, stones and pieces of paper, as well as a selection of different sticks, brushes and mallets. 26 I saw Mensch Mensch Mensch twice, and both times it consisted of solo acoustic pieces by Beins and trumpeter Liz Allbee, before they performed in duo, using only electronics.