JR3


Rudi Mahall - clarinet & bassclarinet
  Olaf Rupp - electric & acoustic guitar
  Jan Roder - doublebass

booking: info[at]janroder.de



new CD 'Happy Jazz' out on April 12th, 2017



the trio

In the early 2000s the all members of JR3 lived near the same park in Berlin and were able to meet and improvise happy chamber music without drums (...aah) in their living rooms. As a result of these sessions JR3 was awarded a 'studio award' from the Berlin Senate, through which the first recordings became available to a small circle of insiders.
Through the years, JR3 played many happy concerts over and over again, eventually also gaining the attention of the New Yorker label 'relative pitch'. At last, the new CD 'Happy Jazz' is available for your enjoyment.
Fundamental to their music in their view, is the interconnected spontaneity, and that virtuosity and simplicity, as well as the strict and the flippant are placed in direct and peaceful proximity to one another. Like a societal concept, these poles are allowed to coexist and to combine as a collage. Yet they are also able to come together with surprising speed and precision.



JR3 wohnten in den frühen 2000er Jahren am selben Park in Berlin und konnten sich ohne Schlagzeug… aah… wunderbar zu Hause treffen und fröhliche Kammermusik miteinander improvisieren.. Gleich darauf gab es den Studiopreis des berliner Senats, wodurch die ersten, einem nur sehr auserwählten Kreis zur Verfügung gestellten, Aufnahmen zustande kamen.. Über die Jahre spielten JR3 immer wieder fröhliche Konzerte und erregten so unter anderem auch die Aufmerksamkeit des New Yorker Labels ‚relative pitch‘ auf dem nun die CD ‚Happy Jazz‘ erschienen ist.
Wesentlich an ihrer Musik ist erscheint ihnen die vernetzte Spontanität und dass sie virtuoses und simples, strenges und flapsiges wie einen gesellschaftlichen Entwurf friedlich nebeneinanderstellen, koexistieren lassen und kollagieren und dass sie dann aber trotzdem immer wieder auch überaschend schnell auch wieder präzise zusammenfinden.



the musicians



Rudi Mahall (born 1966 in Nürnberg, Germany) is a contemporary jazz bass clarinetist. While studying classical clarinet, Mahall shifted towards contemporary music, improvisation and jazz. He is, or was a member of following bands: Avantgardeband Die Hartmann 8, Der Rote Bereich (initially with Frank Möbus, Marty Cook, Jim Black und Henning Sievert), the Trio Tiefe töne für Augen und Ohren (with Sievert and Bill Elgart), Carlos Bicas Azul and Die Enttäuschung (amongst others with Axel Dörner, Jan Roder). He carried out several projects and published CDs with Aki Takase, about the work of Eric Dolphy and others. Mahall participated to Alexander von Schlippenbachs recording of the complete works of Thelonious Monk, published by a prestigious Swiss label, and he is a member of the Globe Unity Orchestra. Moreover he performed with Conny Bauer, Lee Konitz, Barry Guy, Karl Berger, Paul Lovens, Sven-Åke Johansson, Radu Malfatti, Ed Schuller, Ray Anderson, Kenny Wheeler, Hannes Bauer and many others. Mahall performed at the Free Music Festival Jazz a Mulhouse in 2008, at the Moers Festival, the JazzFest Berlin, the Leverkusener Jazztage and jazz festivals in New York City, Amsterdam, München, Würzburg, Nürnberg, Spain, Norway, France, etc and toured in Portugal, southern and eastern Africa.





Olaf Rupp (*1963) plays Improvised Music on the acoustic and electric guitar. The organic flow of his music is controlled neither by chance nor by dominant, wilful decisions. In his music he explores how more or less dense murmurations of notes (motion-clusters) can be perceived as one agglomerated sound in motion. This means that every note is a dot in a higher matrix and its colour is more important than the position of that note in any hierarchic classification system. So a sequence of notes creates a moving sound, not a melody. And the intrinsic colour of every note is more important than the melodic or harmonic burden which the listener may or may not put on it. Besides many cooperations five solo albums are published so far on the labels FMP, GROB and GLIGG. Olaf Rupp has been touring in many countries and performed with extraordinary musicians such as Paul Lovens, Tristan Honsinger, Peter Brötzmann, Butch Morris, Lol Coxhill, John Zorn und Michael Wertmüller. Important groups are among others XENOFOX, his duo with Rudi Fischerlehner, a Duo with cello player Ulrike Brand, DIE DICKEN FINGER with Oli Steidle and Jan Roder (also a quartet with Peter Brötzmann) and WEIRD WEAPONS with Tony Buck and Joe Williamson. www.audiosemantics.de




Jan Roder, born 1968 in Lübeck, Germany, playes bass and electric bass. He moved to Berlin in 1995 where he encountered musicians the likes of Dörner, Mahall, and v. Schlippenbach with whom he has played until today (f.e. this very 'Enttäuschung'). Roder considers his musical 'home' to be post-free jazz and improvised music deeply rooted in the jazz tradition.  He collaborates with musicians such as Aki Takase, Gunter Hampel, Irene Schweizer,Ulrich Gumpert, Ernst Ludwig Petrowski, Thomas Borgmann, Peter Brötzmann, WolfgangPuschnig, Axel Dörner, Wlli Kellers, Michael Griener, Oliver Steidle, Silke Eberhard,Christof Thewes, Matthias Schubert, Olaf Rupp.....  and in projects such as Monks Casino, Die Enttäuschung, Soko Steidle, Squakk, Die Dicken Finger (on electric bass), Silke Eberhard Trio, Ulrich Gumpert Quartett and Workshop Band, JR3, as a soloist and studio musician.



reviews

brandnew JR3 review from 'The Free Jazz Collective'

Ok, let's not judge this one by its cover. These guys do not exactly look like happy jazzers, but crack the CD open and listen, this is intense music, vivacious, vigorous, and full of lively twists and turns.
Happy Jazz delves into free improvisation with zeal, electric guitar lines snake around expressive bass work while bass clarinet melodies range from sonorous to squelching. The total sound is rife with possibilities and the trio explores them all. JR3 is named after Jan Roder, the bassist in this Berlin-based trio, along with bass clarinetist Rudi Mahall and guitarist Olaf Rupp. All renown members of the European experimental music scene, it is exciting to hear their restless music on the adventurous Relative Pitch label.
The title track begins with a gentle melody introduced by Mahall and soon accompanied by crisp atonal sweeps and crunchy tonal clusters from Rupp. In his more brittle moments, the guitar work is slightly reminiscent of Derek Bailey, but Rupp has a textural approach that is all his own. Roder, via elongated bowed notes and rapid pizzicato flights, connects the musicians with aplomb.
The group's close listening and lightning fast reactions are exemplified in the track 'Das Bildnes Der Doris Day'. Beginning with quick burst of activity from Rupp and a sizzling stream of notes from Mahall, the musicians seemingly go off in separate directions, yet always remaining tightly connected, finding ways to hook into each other's musical tangents. Another highlight, especially for the guitar fans, is 'Arm durch, Kopfuber', where Rupp can be heard dropping chord shards and spicy counter-melodies to Mahall's zig-zagging bass clarinet lines. His blustery scampers around the fret board is mesmerizing. Roder's solo, as much as it is a solo and not just the song, scratches, stretches, and slides about while Mahall loops around with bubbly melodic lines and hackle-raising squawks.
Happy Jazz is a really great document of contemporary free improvisation coming out of Berlin. It isn't always an easy album, but it is happy: the joy of playing, experimenting, and creating really shines through.


by Paul Acquaro





first review from Dountown Jazz Magazine

R3 [OLAF RUPP / RUDI MAHALL / JAN RODER] - Happy Jazz (Relative Pitch 1055; USA) The JR3 are Rudi Mahall on clarinet & bass clarinet, Olaf Rupp on electric & acoustic guitar and Jan Roder on double bass. The title of this disc, ‘Happy Jazz’, as well as the modest picture of three “normal” looking musicians on the cover are meant to be rather ironic or at least tongue-in-cheek. All but one of the tracks were recorded in a studio called Happy Barn so consider that as well. No doubt you should recognize the names of these three Berlin-based musicians from a host of previous sessions: Olaf Rupp (solos, duos & trios with Tristan Honsinger, Joe Williamson & Michael Wertmuller; Rudi Mahall: prolific sessions with Alex Von Shlippenbach and Aki Takase and Jan Roder: Die Enttauschung (w/ Mahall), Schlippenbach and Ulrich Gumpert.
This sounds like an all improvised session and a strong, spirited and often intense one. There are moments when it is difficult to tell who is playing what since Mr. Rupp sounds like he is manipulating his strings with objects and the bowed bass and quirky clarinet play in similar timbral or textural areas. There is also a dark, brooding, hypnotic quality to much of this, certainly not happy jazz but equally effective. Guitarist Olaf Rupp does a fine job of creating these eerie swirls which sound great with ever-shifting clarinet and contrabass excursions. There is section on the fourth track where things erupt and move into a furious exchange, all three players navigating quick rapids together and sounding like one focused force combined.
What I find most interesting about this is that even though it is referred to as “happy jazz”, it doesn’t quite sound like “jazz”. It does sound like some incredibly creative free improvisation which is restless and always engaged. This activity does make me smile and will no doubt make that serious listener happy as well.
- Bruce Lee Gallanter, DMG



Bad Alchemy 94

Reich und berühmt wird man wohl nicht, wenn man so aufs Vögelchen starrt wie Olaf Rupp mit seiner spinatgrünen Popeyegitarre, Rudi Mahall als nachtblaupinker Klarinettenkauz und Jan Roder wie gerade aus dem Bett gezerrt und an den Kontrabass gelehnt. Trotzdem, das sind 'unsere' richtig Guten, und wem das bei Mahall und Rupp einleuchtet, dem rücke ich gern den Roder dazu in den Vordergrund, der schließlich mit dem einen in Die Enttäuschung, Finkwerkeverzeichnis, Soko Steidle und Reich Durch Jazz rupft und zupft und mit dem andern in Die Dicken Finger, ganz zu schweigen vom Silke Eberhard Trio, Tama, Roder & Thewes etc. und überhaupt. Die drei kennen sich seit wasweißich, wohnten Anfang der Nuller Jahre nah beieinander in Berlin, und diese Scheibe offenbart nur etwas Offensichtliches: Spaßvögelei ist eine ihrer liebsten Übungen, Jazz geht auch ohne Drums, Hot Dogs können auch Katzenmusik, und wer 'Das Bildnis der Doris Day' nicht lustig findet, dem ist sowieso nicht zu helfen. Ihre Katzensprünge klingen gerade deshalb so witzig, weil sie so richtig schräg im Dreieck maunzen, Roder immer wieder auch mit dem Sägebogen, meist aber mit Tarantelfingern, Mahall mit gehupften wie gesprungenen Rösselluftsprüngen, Rupp mit gewagten Salti, Schrauben und mixedpickligem Arpeggio. Das ist Dixie, Seemeilen entfernt von jedem rettenden Ufer, das ist Happy Hour in Kakophonia, kein Ton nicht gebogen, gezogen, gedreht oder von innen nach außen gewendet. Weiß der Teufel, wie sie trotz ihrer Fly-Converter-krassen Verformungen - ihr wisst schon: Goldblum zu Brundlefly, Muthspiel zu Rupp... - kein Sekündchen unfroh oder auch nur ungeschickt klingen. Was für Kiekser, was für ein tausenfüßlerisches Arschkicken der Saiten, motorische Intelligenz mit Tempo und IQ 130. Wie da der Lack von Doris Day abblättert, die Muffe flattert, Roder den Fuchsschwanz schwingt, die 16tel kopf-über die Füße der märkischen Viertel holterdipoltern, aber auch diabolisches Schillern in zarten Schimmer, piekfeines Flimmern und gequirltes Flirren auf der (ausnahmsweise) Akustischen sich verfeinert. Vergesst Adorno, es gibt sehr wohl ein richtig spaßiges Leben mit falschen Tönen.
[BA 94 Rigobert Dittmann]





©Jan Roder 2017