SAMUEL BLASER

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Samuel Blaser is a special player, and this is a special recording.  His debut CD as a leader, 7th Heaven represents a culmination of experiences, as well as an exciting point of departure for Samuel's future in the world of modern improvisors.

I was fortunate enough to inherit Samuel as one of my students when I joined the jazz faculty at Purchase College in 2006.  A Fulbright scholar, with extensive studies in Paris and New York as well as in his homeland of Switzerland, Samuel was beginning his final year as a graduate student and came to me already a fully formed player.  His trombone technique and control were beyond reproach, and there was nothing I could give him that he couldn't bring in the next week under complete control.  From this CD's opening, you can hear that there is no part of the trombone Samuel is uncomfortable with.  Facility and limitations are not a concern.  Over time, I came to realize that this command came through his own dedication, diligence and hard work.  This guy just loves to practice.

With Samuel having such control of his instrument, it allowed us to move immediately to musical matters, examining abstract concepts and the organization of melodic material based on wide intervals and altered tonal centers.  Although much of the music on this recording has a "free" feel to it, make no mistake about Samuel's musical knowledge.  He is extremely well versed in all the intricacies of harmony as well as the varied idiomatic languages from jazz's wide continuum; something that cannot necessarily be said for all postmodern abstract artists today. 

For someone at the young age of 26, the organization of Samuel's solo offerings is extremely mature.  They are patient, disciplined and well thought-out, with small ideas developing into larger statements and overall contours, creating cohesive arcs of ideas that guide the listener every step of the way.  In addition, even while playing at his most free or harmonically intricate, Samuel still finds a way to bring a soulful element into the music.  It is compelling as much as it is intriguing.  Couple that with a beautiful sound (check out Entre-Deux) and it's apparent that he has all his bases covered.

The use of multiphonics can easily fall into the category of gimmick, but Samuel, following the path of one of his heroes, Albert Mangelsdorff, makes logical use of this technique, incorporating it into the fabric of the composition and making it indispensable in stating his musical message.  Excellent examples of this are evident in Au 7ème ciel and La Vache (a tribute to Mangelsdorff) where it's difficult to imagine the piece without the presence of the fresh sonority and the contrast of color it provides.  This is also true of Samuel's use of the plunger, especially during On 175th Street, where he hints of the trombone's past while cleverly connecting it to the modern-day world.

This project, recorded after a ten-day tour of Switzerland in 2006, not only demonstrates a growth and development in Samuel's playing, but in his overall musical concept.  It is clear he's proud of the new direction his music has taken. "It is not only my first solo album, but also the beginning of a new type of music for me," observes Samuel.  "When I moved to New York, I did not think I would play this kind of jazz.  By meeting different people, artists and cultures, my musical tastes changed.  On 7th Heaven, all the compositions were written within 2-3 months.  They all have common materials or ideas."

The album's centerpiece is a three movement suite called Métamorphoses that Samuel composed shortly after moving to New York City. "The Suite is based on four notes," Samuel explains. "When you permute them, you can get all the intervals, which creates a nice and specific sound that is kind of Arabic.  You'll notice that the melody of the third movement is actually the melody of the first movement.  We played the melody rubato at a very high tempo, which creates a nice atmosphere."

Compositionally, the music on this CD, all composed by Samuel, demonstrates his sensitivity to motific development combined with a individualistic harmonic sense, all while still keeping things simple enough for a more open style of improvisational interpretation.  "A lot of my compositions are based on concepts, intervals, colors, or sounds," Samuel explains. "I did not include any chord changes, except for just a few times to give a better shape to the music or to underline a melody."  Setting such loose parameters clearly enabled the quartet to interpret this music organically and free of any preordained agenda, making this not just a soloist's album, but a pure group effort.  "My compositions are meant to induce conversation and communication," Samuel states. "The compositions are only basic material that I would like my musicians to improvise around, with or against." From the playful interval-based pointillism of Au 7ème ciel and the fragmented opening ideas of Métamorphose, to the march-like Sans Titre (dictated with rhythms only) and the programmatic La Vache (The Cow), his compositions cover the gamut of thematic design.  And for those mathematicians out there, the melody to On 175th Street was completely number-generated, and includes Samuel's telephone number.  Give him a call, if you're up to the challenge.

The synergistic rhythm team of guitarist Scott DuBois, bassist Thomas Morgan, and drummer Gerald Cleaver create a smooth and natural flow throughout this recording, even when moving in and out of time signatures, grooves or tempos.  They are sensitive and never bombastic, giving Samuel the ability to explore every aspect of the trombone in all ranges and dynamics.  "During the whole recording, the rhythm section is playing on a very soft level, which is very pleasant for me as a soloist," Samuel states.  "I can play my lines soft, and shape them better, in a way that makes everything easily understandable."  Scott DuBois' introspective guitar provides the perfect foil for Samuel's dynamic trombone.  His solos paint colorful abstracts, and the hues and textures in his accompanying provide a wonderful springboard from which to improvise.  It's essential that music like this has a cohesive element, and Thomas Morgan's bass tastefully supplies one in a mobile way without weighing the proceedings down.  He's able to keep things light yet full, and his lines, even while serving as a foundation, provide a third melodic stream that keeps the four-way interplay constantly evolving.  The imaginative drumming of Gerald Cleaver frames all the collective voices, acutely staying in the moment and responding to all stimuli surrounding him.  Always tuned into the conversation, he is able to create a comfortable, complementary backdrop for each unique personality within the quartet.  His subtle interaction has a strong effect overall, and his solo exchanges, particularly on Métamorphose, are not only contextually perfect, but bring an exhilarating level of excitement to the performances.

This auspicious debut CD is only the beginning for the successes Samuel Blaser and his quartet will enjoy.  To celebrate the release of this recording, the group will be traveling for three and a half weeks, touring throughout Europe.  For those lucky enough to catch them, I’m sure they too will be in 7th Heaven.

John Fedchock

What a pleasure to hear a musically creative trombonist.

And I am targeting this instrument because we are so few out there who are trying to reach a public who for some mysterious reason(s) are not so attracted to this god blessed  instrument. Outside of other trombone players, who has records of trombone performing-recording artists?  So what's the deal?

I guess one has to be special, not only to play this instrument, but to appreciate it as well.  Appreciating means buying records of  trombone performing-recording artists as well as going to hear them in concert!

Samuel BLASER is one of these special artists who not only plays some beautiful trombone, but brings together on this album a  great group of musicians, who really connect with one another in their performances to bring out the best of  Samuel's compositions.

Samuel, in taking the initiative to let us know that  he is "trombonist-composer-group leader and recording artist." makes it very clear that he is seriously taking care of business.

I personally welcome Samuel to our special tribe.

And for you listeners out there, come and join us. I am sure you will find your pleasure in listening to this album and finding your favorites. My favorites are ' Métaphore ' , 'On 175th Street ' and ' La Vache'.

Musically Yours,

GLENN  FERRIS

Samuel Blaser gehört zu den aussergewöhnlichen europäischen Talenten, die sich der Herausforderung NYC mutig gestellt haben, um sich auf dem höchstmöglichen Niveau weiter zu bilden und sich mit der inernationalen Konkurrenz zu messen. Und das erfolgreich, wie sein vorliegendes CD-Debüt beweist.

mathias rüegg, Vienna, October 2007