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C​/​W​|​N Thirty Nine Fifty Five

by Georg Wissel, Dušica Cajlan, Etienne Nillesen

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1.
C/W|N I 29:08
2.
C/W|N II 10:47

about

C/W|N is based in Cologne, Germany, and consists of pianist Dusica Cajlan, percussionist Etienne Nillesen and saxophonist Georg Wissel. They continuously develop their language and convince their audiences with fascinating, imaginative, lively and subtle playing. A trialogue of musicians who simultaneously co-create, react, and complement each other. They never act indiscriminately, but always highly musically. In doing so, they place the qualities of sound, tone and noise with open forms, precisely formulated structures and accentuated rhythms at the center of their music composed in real time. Music that composes sound. Currently, the trio is focusing on an analogue granular-synthetic ensemble playing, where the music in a way creates itself.

Reviews:

For quite a while now, a few genuinely responsive musicians in the improvisational scene have been drawn to the quieter interstices between sounds already typified by a spirit of intrinsic peace, in spite of the occasional outburst of anarchy. Instrumentalists such as Georg Wissel (augmented alto sax), Dušica Cajlan (extended piano), and Etienne Nillesen (extended snare drum) fall into the category of performers more concerned with the reflection of internal resonance than with the “counterfeit zen master” mentality common among certain representatives of the same milieu (and, alas, of life at large). Free jazz ingredients may be present on their second album, but these elements also flourish into wholly different colors – sometimes verging on a mildly radical minimalism, if you ask me – and always seem to represent an excellent product of instinctual contrapuntal investigation. Accordingly, Wissel, Cajlan and Nillesen’s accurate interplay is a perfect fit for their quest for a definition of shape amid the dispersion of intellectual translations. Alternative techniques are never utilized carelessly or crudely; every decision – individual or joint – appears to be made solely in service of the overall sonority’s depth, which remains the actual aim. Sincerely speaking, I haven’t felt much need to review albums of pure improvisation in recent months, perhaps annoyed by the too many semi-nonentities that have jumped on the bandwagon. This, though, is a welcome exception. A record that captivates the trained listener time and again, Thirtynine Fiftyfive is a classic sleeper, with a lot to offer to ears attuned to the dynamics of clever sonic teamwork. Massimo Ricci, Beyond the Dust massimoriccibeyond.wordpress.com/2023/02/16/c-wn-thirtynine-fiftyfive/

C/W/N are three musicians: Dušica Cajlan-Wissel (extended or prepared alto saxophone) & Georg Wissel (extended or prepared alto saxophone) & Etienne Nillesen (extended snare drum). Each first letter of their last name forms the group's name. They are based out of Cologne, Germany. 'Thirtynine fiftyfive' is their second release. I listened to this release numerous times, and I have to say: to me, this is fascinating music. Hyperkinetic in execution, small gestures, a lot of breathing through the saxophone, slap tonguing, Flatterzunge, plucking the piano snares; the snare drum gets the brush treatment and other treatments I can't describe right now. The three of them listen intently to each other, or instead to the sounds they hear, and together they create coherent lively music, which to some listeners might sound nervous. I find this quite relaxing music. Mostly, the music is not too loud, except for the occasional sound outbursts, but all in a highly controlled group fashion. As I said, the response between the three musicians is very high. Two tracks: one almost half an hour long and a second one of ten minutes. The first one is despite the dense music over before you know it. And the second one starts a little less frenetic. But equally bursting with life. Now for the title: could it have to do with the Human Design Chart? It's a wild guess. Anyway: great release! - Mark Daelmans-Sikkel (MDS) in Vital Weekly #1330, www.vitalweekly.net/1380.html

C/W|N thirtynine fiftyfive (Acheulian Handaxe, AHA 2202): Dušica Cajlan – extended piano, Georg Wissel – augmented alto sax, Etienne Nillesen – extended snare drum. Nicht zum ersten mal, mit „fourtyfour fiftythree“ waren sie auch schon auf Creative Sources zu hören. Mit Vogelfutter für offene Ohren, winzigen Häppchen, aber dann auch schon längeren Würmern in ungekürzeltem Tremolo und als Haltetöne. Lebendfrisch mit spitzen Fingern, spitzem Schnabel verabreicht, mitsamt Gräten oder Knöchelchen. Da hilft kein Zappeln und kein Sträuben. Dazwischen ist Hungerkunst oder zumindest Geduld gefragt, die man sich mangels fetter Beute nur mit dem Knispeln und Kratzen an Hölzchen und Steinchen vertreiben kann. Natürlich geht dieses reduzierte Spiel mit teils fast unhörbar gepickten, angeklickten, geriebenen Klang- und Geräuschpartikeln noch viel besser ohne meinen Blick in ein Vogelnest. Denn dann stellen sich zu feinem Geklimper und geharften Drähten, zu lyrischen Altoklängen und perkussiver Akribie entsprechend feinere und lyrischere Bilder ein. Und wenn Cajlan die Tasten hämmert und mit den Drähten prickelt, Wissel raukehlig zirpt, gurrt und kräht und Nillesen mit Schrott klopft oder durch Bowing surrt, sogar recht animierte Suggestionen, so dass die Sparsamkeit und das Pianissimo als entschieden gesucht und gewollt deutlich werden. Als Aufmerksamkeit und Verehrung für den Gesang der kleinen Dinge. Deren tönende Ontologie eigentlich die Klangwelt beherrscht, wie sie es über windstille und meerferne Jahrmillionen hinweg tat, nur wird die beständige Mikrophonie der Insekten, Blätter und Halme inzwischen durch den immer allgegenwärtigeren Menschenkrach übertönt. So dass sie, so im Fokus wie hier, als etwas ganz Unvertrautes befremdlich und sogar etwas verstörend wirken kann.
Rigobert Dittmann [BA 118 rbd]

C/W|N – ThirtyNine FiftyFive By Massimo Ricci February 16, 2023
For quite a while now, a few genuinely responsive musicians in the improvisational scene have been drawn to the quieter interstices between sounds already typified by a spirit of intrinsic peace, in spite of the occasional outburst of anarchy. Instrumentalists such as Georg Wissel (augmented alto sax), Dušica Cajlan (extended piano), and Etienne Nillesen (extended snare drum) fall into the category of performers more concerned with the reflection of internal resonance than with the “counterfeit zen master” mentality common among certain representatives of the same milieu (and, alas, of life at large). Free jazz ingredients may be present on their second album, but these elements also flourish into wholly different colors – sometimes verging on a mildly radical minimalism, if you ask me –  and always seem to represent an excellent product of instinctual contrapuntal investigation. Accordingly, Wissel, Cajlan and Nillesen’s accurate interplay is a perfect fit for their quest for a definition of shape amid the dispersion of intellectual translations. Alternative techniques are never utilized carelessly or crudely; every decision – individual or joint – appears to be made solely in service of the overall sonority’s depth, which remains the actual aim. Sincerely speaking, I haven’t felt much need to review albums of pure improvisation in recent months, perhaps annoyed by the too many semi-nonentities that have jumped on the bandwagon. This, though, is a welcome exception. A record that captivates the trained listener time and again, Thirtynine Fiftyfive is a classic sleeper, with a lot to offer to ears attuned to the dynamics of clever sonic teamwork.

C/W I N thirty nine fifty five Dusica Cajlan Georg Wissel Etienne Nillesen Acheulian handaxe AHA 2202 
https://handaxe.org/album/c-w-n-thirty-nine-fifty-five

Méta-musique millimétrée faite de chocs brefs et résonnants sur l’anche du sax du rebord de la caisse et dans la table d’harmonie, de sons bruissants, de bulles d’air qui affluent lentement dans le tube, de résonnance des cordes du piano à peine touchées ou grattées, timbres en suspension flottant dans la pénombre. Les premières minutes de I (29’08’’). Dusica Caljan est une pianiste distinguée, Georg Wissel est un souffleur maniaque des sourdines insolites à même le pavillon du sax, Etienne Nillesen joue d’une simplissime extended snare drum en lieu et place de batterie. Cette suite de 29 minutes est le lieu et le temps d’un premier remarquable crescendo – decrescendo en intensité du « presque rien » minimaliste à peine audible jusqu’au point de convergence de l’énergie et de staccatos hachés à volonté pour redescendre dans l’intimité de l’intérieur du piano assourdi où murmurent les cordes métalliques quand se soulèvent les marteaux en vague imperceptible sous la férule de la baguette follement hésitante à marteler cette caisse claire fantômatique. Tout autour s’agitent frottements et chuintements dans un tourbillon de feuilles mortes. Cette musique ésotérique suggère une agitation fébrile en deça d’un niveau ostensible de décibels et souvent rejoignant le quasi silence, celui propice à faire tinter le clavier comme il se doit en arpèges sauvages clusterisés. Cette orientation musicale n’est certes pas neuve, mais le grand attrait de ce trio c’est la classe superbe de ses trois musiciens. Il suffit d’entendre le saxophoniste jouer ces larges intervalles post-tristaniens avec une articulation tortueuse et un timbre diaphane transgressé de morsures et de sursauts d’humeur bruitistes qui plongent une fois de plus au bord du silence lorsque les deux autres le rejoignent. L’occasion d’une étrange respiration circulaire à l’anche à peine résonnante et des fétus de sons. En II , 10’47’’ qui concentre tout ce qui vient d'être exposé dans une forme ramassée, concentrée et métamorphique. On se rend petit à petit compte que leurs déambulations sonores interactives débouchent sur des formes – itinéraires maîtrisés avec un sens inné de la navigation, de la suite. Concentrez-vous sur les sons du trio et le jeu de chacun et l’écoute intense vous fera pénétrer un monde secret d’échanges inouïs.
Posted by Jean-Michel Van Schouwburg 16.02.2023 at orynx-improvandsounds.blogspot.com/2023/02/kay-grant-daniel-thompson-matthias-boss.html


C/W|N  Thirty Nine Fifty Five (Acheulian Handaxe, CD 2022)
MUG, Einstein Kultur, Monachium, wrzesień 2021: Dušica Cajlan – piano preparowane (extended), Georg Wissel – saksofon altowy (augmented) oraz Etienne Nillesen – mały zestaw perkusyjny (extended). Dwie improwizacje, 40 minut.
Po sporej dawce elektryczności i elektroakustyki czas na porcję dźwięków stuprocentowo akustycznych. Do świata subtelnych, wytłumionych, niekiedy ekstremalnie cichych fonii zaprasza nas międzynarodowe trio, które koncertowało onegdaj w stolicy Bawarii. Płyta mieni się masą urokliwych, fantastycznie brzmiących dźwięków, ma świetną dramaturgię (emocje miewają tu naprawdę wysokie wzniesienia!) i nie ma w jej trakcie momentu, w którym recenzent mógłby wyrazić zdanie odrębne. Przepyszne nagranie!
Improwizacja od startu budowana tu jest z drobnych, precyzyjnie konstruowanych fraz. Suche podmuchy z tuby saksofonu, przedmioty szeleszczące na fortepianowych strunach i filigranowy, ale głęboki drumming. Opowieść narasta bardzo powoli, syci się drżeniem strun, dłuższymi frazami dętymi i fikuśnymi rysunkami na glazurze perkusyjnego werbla. Z czasem pianistka częściej korzysta z uroku fortepianowej klawiatury, a w grze drummera pojawia się coś na kształt minimalistycznego rytmu. Narracja raz na kilka minut na swoje drobne wzniesienie, które muzycy pokonują z wyjątkową gracją, po czym wracają do żmudnego kreowania kolejnego wątku. Tuz przed 20 minutą seta zasadniczego efektowne pasaże na niezłej dynamice śle nam pianistka, po czym trio zanurza się w oceanie filigranowych inside sounds. Rozkołysana post-ballada wieńczy ten fragment nagrania. Koncertowe encore trwa tu ponad 10 minut i kreowane jest z jeszcze większą pieczołowitością. Najpierw akcenty percussion z wnętrza fortepianu i werbla, potem saksofonowe oddechy. Artyści w tej części koncertu zdają się być najbliżej ciszy. Potem wpadają w subtelny trans – delikatnie szarpane struny piana, rezonujące śpiewy z werbla i saksofonowe dysze w swobodnych pląsach. Na koniec pianistka powraca na klawiaturę, podczas gdy jej partnerzy budują wieńczące dzieło, pęczniejące drony.
Andrzej Nowak, Spontaneous Music Tribune

C/W|N Thirty Nine Fifty Five (Acheulian Handaxe, CD 2022)
MUG, Einstein Kultur, Munich, September 2021: Dušica Cajlan - prepared piano (extended), Georg Wissel - alto saxophone (augmented) and Etienne Nillesen - small drum kit (extended). Two improvisations, 40 minutes.
After a hefty dose of electricity and electro-acoustics, it's time for a portion of 100% acoustic sounds. We are invited into a world of subtle, muffled, sometimes extremely quiet phonies by an international trio, which once performed in the Bavarian capital. The album sparkles with a mass of charming, fantastic-sounding sounds, has great drama (the emotions here have really high elevations!) and there is not a moment during the course of the album where a reviewer could express a dissenting opinion. A delicious recording! 
The improvisation here is built up from the start with small, precisely constructed phrases. Dry blasts from the saxophone tuba, objects rustling on the piano strings and filigree but deep drumming. The story builds up very slowly, oozing with trembling strings, longer wind phrases and fidgety drawings on the glaze of the percussive snare drum. As time goes on, the pianist uses the charm of the piano keyboard more often, and there is something of a minimalist rhythm in the drummer's playing. The narrative takes a slight climb once every few minutes, which the musicians overcome with exceptional grace, before returning to painstakingly create the next thread. Just before the 20th minute of the main set, the pianist sends us impressive passages on a nice dynamic, after which the trio plunges into an ocean of filigree inside sounds. A rocking post-ballad crowns this part of the recording. The concert encore here lasts more than 10 minutes and is created with even more care. First the percussion accents from within the piano and snare drum, then the saxophone breaths. The artists seem to be closest to silence in this part of the concert. Then they fall into a subtle trance - gently plucked piano strings, resonating chants from the snare drum and saxophone jets in free-flowing tangles. At the end, the pianist returns to the keyboard while her partners build up the work's crowning, swelling drones. 
Andrzej Nowak, Spontaneous Music Tribune

credits

released November 24, 2022

Dušica Cajlan - extended piano
Georg Wissel - extended altosaxophone
Etienne Nillesen - extended snare drum

recorded live by Oliver Künzner
September, 11 2021 at MUG, Einstein Kultur, München
thanks to Offene Ohren e.V./ Hannes Schneider
mixed and mastered by Georg Wissel
cover photo and design by Georg Wissel
ensemble photo by Sophia Hegewald

all music by Dusica Cajlan, Georg Wissel and Etienne Nillesen

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Acheulian Handaxe Records Brooklyn, New York

The Acheulian Handaxe appeared first around 1.4 million years ago. For about 1 million years it was used by early humans throughout the Pleistocene period without significant design changes. Modern archeological evidence suggests that the handaxe was more than just a tool, and was used for elaborate social displays and for sexual selection. ... more

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