„Close to silence, and other grooves“ – talking with Jeremiah Chiu and Marta Sofia Honer

In den noch nicht so vielen Jahren ihrer Existenz hat sich International Anthem Records, Chicago, einen festen Platz in den Grenzzonen von Jazz, Elektronischer Musik, Fourth World und Ambient Music, sowie den aufregenden Zonen von New Age, Post-Rock und Post-Irgendwas gesichert. „The Closest Thing To Silence“ gehört schon jetzt zu meinen Lieblingsalben des Labels, in allerbester Nachbarschaft von Jamie Branch, Jeff Parker, Makaya McCraven oder Alabaster dePlume. Ariel Kalma, 77 Jahre, ein Klangsucher, der nach allerlei Jazzeskapaden in Indien seine musikalische „Erleuchtung“ erlebte, und heute in Australien lebt, ist der Dritte im Bunde, und dieses Werk wird als ein besonderes seiner Discographie betrachtet werden. Mit Jeremiah Chiu und Sofia Marta Honer an seiner Seite entstand ein so eigenwilliges wie betörendes Album, das das alte Spiel mit den Schubladen und Etiketten nur allzu rasch ad absurdum geführt wird.

Die elektronischen Pulse, die synthetischen Arpeggios, die natürlichen wie verwandelten Bratschenklänge, die spoken-word-Passagen, die Flüge auf dem Saxofon, hier fliessen allerlei Welten zusammen. Vielleicht symbolisieren die drei Kreise des Covers die drei Musiker, die sich der hörbaren Welt, und der Stille ringsum, widmen, in Kompositionen, die ein weites Feld emotionaler Schwingungen erforschen, und stets im Zentrum, der menschliche Faktor, kein Klingklang, keine leerlaufende Verspieltheit. Aber lassen wir Jeremiah und Marta Sofia zu Wort kommen, denen ich ein paar Fragen gemailt habe. Wir erfahren unter anderem auch etwas von einigen ihrer Lieblingsalben, ob von ECM, von Jon Hassell, oder von Komponisten Elektronischer Musik wie Alvin Curran und David Behrman.

How conscious was it to chose the title with that ECM association that many journalists have in mind when reading it, that old quote from a Canadian of „ECM being the most beautiful sound next to silence“? Has that ECM reference happened purely by chance…at least, with a bit fantasy, the saxofone lines at the very beginning sound like a distant echo of Jan Gabarek‘s sax style (flights in open space, kind of…)

in the March edition of „Wire“ one could read that Ariel  lost most of his hearing abilities only still having a  little bit of hearing in one ear, when using headphones. From reading that feature, I won the impression that he can very well accept his limitations that came with high age. How could he, apart from sending a lot of material from his archive, participate in the creative process, and maybe enjoy the results?

I don‘t want to discuss the history of New Age here. But, in short, New Age had always been criticized for musical naivities, the kitsch factor. Apart from being a matter of taste, there have of course been pioneers in that field from start on in the 70‘s, especially in the place you and Marta Sofia are so close to, geographically, the Bay Area in California… after your duo album on the Aaland Islands, do you see this new album as an extension of certain „new age“ roots, or is there a stronger connection to Minimal  Music?  

A connection that always rings a bell when listening to your album is „Fourth World Music“, that Jon Hassell expression looking for new link between modern studio and sound technology and ancient, „third world“ traditions… apart from his philosophical thoughts on a  different  „Coffee Colored Classical  Music“ … has there been an absolute favourite Jon Hassell album that has been a constant companion in your life?

I have been listening to this album quite often now, from start to end… had the final sequencing of the pieces been hard work, or did everything fall in its place organically? 

Back to the beginning: do you have, let‘s say, a personal history and story with ECM, one, two, or three favourite ECM albums? As a look at a small part of your listening history!

Another word about Ariel’s companions on „The Closest Thing To Silence“ – following the informations on Marta Sofia Honer’s homepage. The two met, appropriately, as members of a large ensemble performing Terry Riley’s “In C,” for an annual concert organized by Bitchin Bajas. Honer & Chiu had been living and working in Chicago for a long time, both active members of the notoriously interconnected improvisational and experimental music scenes, but they were somehow previously unintroduced. Chiu’s musical CV to that point included work with bands like Icy Demons and Chandeliers, but he was mostly known for his visual and graphic design work as Some All None. Honer had primarily worked as an instructor in Chicago, as well as a member of the ensemble Quartet Datura. In 2014, a year after their first collaboration, together, they decided to migrate to Los Angeles to continue developing their respective careers and crafts in sunnier climes.