Luca Koch – NeoBlog

A pioneer of vocal artistry – US-American vocalist Lauren Newton.

Her passion for exploring the full potential of the voice drives her work in free improvisation, jazz and contemporary music. Closely associated with the Swiss experimental music scene, she taught jazz vocal performance and free improvisation at the Lucerne University of Music (HSLU) between 1993 and 2019.

Luca Koch
While her career encompasses a broad range of ensembles, from large jazz orchestras to vocal ensembles and long-standing duos, her concerts are notable for their captivating depth and immediacy. This year Lauren Newton is celebrating her 50th anniversary on stage. For the SRF Culture programme Living Past, I visited her in Tübingen, Germany, where she is currently based and had the chance to listen to groundbreaking live recordings with her.

A twist of fate

Lauren Newton actually wanted to study art in Oregon in the USA, but she didn’t get in and, as a twist of fate, she tried her luck in the music department. Both classical music and jazz were already present at home. Her father played double bass and sang in nightclubs. Lauren also had a good voice and began studying classical singing. In her third bachelor year, she was allowed to take part in an exchange year in Stuttgart. This was unusual for Bachelor students, but her teacher vouched for her and Germany became her new home.

Lauren Newton, Sound Songs, Solo–Improviation 2006.

Classical music student by day, jazz-rock singer by night

In Stuttgart, Lauren began her Masters in the singing class of opera singer Sylvia Geszty and at the same time immersed herself in the city’s young jazz scene. At a jam session, she met trumpeter Frederic Rabold, who was impressed by her voice. A short time later, Newton was singing in his jazz-rock band, the Frederic Rabold Crew. The mix of simply composed themes and free improvisation was ideal for her and allowed her to refine and use previously acquired skills in the more liberated setting of improvisation. Both activities merged seamlessly, it never felt like a double life, she told me in the interview.

Vienna Art Orchestra

The Frederic Rabold Crew was invited to Vienna in 1979 for the television programme Bourbon Street, which did not go unnoticed by Swiss jazz musician Mathias Rüegg, who had founded the Vienna Art Orchestra with Wolfgang Puschnig two years earlier. After the TV appearance, he immediately asked Lauren Newton if she wanted to join. For ten years, Lauren Newton was an irreplaceable part of the Vienna Art Orchestra, which became an authority in experimental jazz with dozens of album productions and major tours. Her voice stands out from the jazz orchestra with razor-sharp precision and playful virtuosity. A time that Lauren Newton would not have missed for the world, even if the constant travelling on the tour bus as the only woman was challenging.

Vocal Summit

I got to know Lauren Newton personally when she was teaching at the Lucerne University of Applied Sciences and Arts. To me, she was not only an important figure as a vocalist with a wide vocal range, but also as a musician with a great interest in other voices. She not only helped her students to discover their own voices, but also collaborated with other singers on stage time and again. Together with Bobby McFerrin, Urszula Dudziak, Jeanne Lee and Jay Clayton, she formed the vocal all-star band: the Vocal Summit. Together, five completely different voices create soundscapes that breathe. Lauren Newton also continued her work with voices in larger formations with vocal ensemble Timbre.

Vom Vom Zum Zum

Lauren Newton has made a name for herself as an experimental vocalist who expresses herself particularly through sounds. But working with text also plays an important role in her music, which is plain to see and hear in her particularly influential collaboration with Austrian poet Ernst Jandl. His poems were deconstructed and reassembled, words were twisted, stretched and spoken backwards. The album Vom Vom Zum Zum, on which Ernst Jandl speaks while Lauren Newton plays around his words, was a special discovery for me.

Pi from Vom Vom Zum Zum, Lauren Newton with Wolfgang Puschnig, Mathias Rüegg, and Uli Scherer, 1988.

Duos in dialogue

Free improvisation is like a musical conversation. The players respond to each other, they comment, agree or argue. This works best in a duo, Lauren Newton tells me in the SWR studio in Tübingen and duo recordings form a large part of her oeuvre, featuring collaborations with Anthony Braxton, Phil Minton, Aki Takase and Joëlle Léandre, for example.

O How We, Lauren Newton and Phil Minton performed together on stage for the first time at the A Voix Haute Festival in Bagnères de Bigorre, France, on August 13, 2010.

The double bassist Joëlle Léandre in particular has accompanied her to this day. Their deep musical friendship is reflected in their interplay. The rich, concise sound of Léandre’s double bass playing perfectly complements Newton’s crystal-clear voice. The duo recently released a new album: Great Star Theatre, San Francisco.
Luca Koch

Lauren Newton and Joëlle Léandre © Friedrich Förster

Frederic Rabold, Frederic Rabold Crew, Mathias Rüegg, Bobby McFerrin, Urszula Dudziak, Jeanne Lee, Jay Clayton, Wolfgang Puschnig, Vienna Art Orchestra, Ernst Jandl, Anthony Braxton, Phil Minton, Aki Takase, Joëlle Léandre.

neoprofile:
Lauren Newton

broadcast SRF Kultur:
Living Past – Lauren Newton, Pionierin der Stimmkunst, 13.02.2024, made by Luca Koch.

SRF-Video interviews of How Noisy are the Rooms? and Der Verboten

Since its foundation in 1975, Willisau Jazz Festival has been an important hub for improvised music. Every year in late summer, improvisers from all over the world gather together in the Lucerne hinterland, where they perform in intimate settings or as larger acts in the festival hall. SRF 2 Kultur portrays them every year in various programmes. This year, SRF Kultur music editors Roman Hošek and Luca Koch also conducted live video interviews with various bands and artists. Luca Koch presents two of the featured bands in our neoblog: Der Verboten and How Noisy Are The Rooms?

‘Der Verboten’: Antoine Chessex, Christian Wolfarth, Frantz Loriot, Cédric Piromalli

Luca Koch
Anyone who discovers the band name (Der Verboten) in a programme might immediately think of a white, round sign with a red border or even think the name is a typo. Does it mean “das Verbot” (prohibition) or “die Verbotenen” (the forbidden) or “Der Vorbote” (the precursor)? What appears to be grammatically incorrect originally arose from a joke, as the quartet featuring Christian Wolfarth, Frantz Loriot, Antoine Chessex and Cédric Piromalli rehearses in both German and French, including translation errors. The name has stuck, because who defines what is right and what is wrong? Like music, our languages are made up of rules and structures that can be broken. Der Verboten’s music of is free of rules, intertwined, and it’s precisely this interplay that drives the band.

Der Verboten: Refinement instead of innovation

Exploring new sounds or expanding the individual instruments’ sound is not the focus of the ensemble, they try instead to sonically merge and deepen their collective sound. In the interview, Christian Wolfarth repeatedly emphasises how important it is to find the right bandmates. This quartet is like an old friendship, even if they haven’t rehearsed or played on stage for a long time, they pick up exactly where they left things when they last met.

Time merging

In order for piano, drums, viola and tenor saxophone to grow into a single musical organism, the band needs one thing above all – time. The desired form of interwoven interplay only emerges during long improvisation sessions. “I think I can say that we manage to achieve it during every concert,” says Christian Wolfarth in the interview. The ensemble played a total of two pieces in their one-hour set at the Willisau Jazz Festival and the break in between served as an opportunity for everyone – especially for the audience – to catch their breath. Slow developments and barely noticeable changes meant that the audience in the concert hall kept wondering how Verboten had musically moved from A to B.

Christian Wolfarth and Antoine Chessex before their concert in a live interview at the Jazz Festival Willisau 2023.

The band performed on stage with the same calm and reflective approach as in a conversation. They transported me into their world of sound to such an extent that during the concert I no longer knew whether twenty or just two minutes had passed.

Another band that plays with the audience’s sense of time is How Noisy Are The Rooms? In contrast to Der Verboten, however, the minutes seem to run by, as their sound aesthetic is shaped by high tempos and high density of sounds.

‘How Noisy Are The Rooms?: Almut Kühne, Joke Lanz und Alfred Vogel

‘How Noisy Are The Rooms?’ likes to ask questions.

The trio featuring Alfred Vogel, Joke Lanz and Almut Kühne likes to ask questions: How much noise can a room tolerate or can music cause whiplash? Improvisation with lots of energy, punk aesthetics and fast interaction gives the listeners at How noisy are the rooms? concerts the feeling of being flung back and forth like balls in pinball machines. The trio’s creative musical anarchy on stage challenges the audience, sometimes even overwhelmingly. Alfred Vogel emphasises: “I don’t really mean to overwhelm people. Understanding follows listening. You just have to open your ears and, at best, it does something to you.”

Turntables and whistle notes

The driving rhythms of Alfred Vogel on drums with Almut Kühne’s vocal acrobatics lend How Noisy Are The Rooms?’s music an archaic flair, as percussion and voice are probably the oldest instruments known to mankind. Joke Lanz, looping and distorting sound samples with his turntables, brings a performative, electro-analogue and humorous component into play.

Alfred Vogel before the concert of How Noisy Are The Rooms? in a live interview at the Jazz Festival Willisau 2023.

Alfred Vogel wanted to become a rock star and this energy is still present in How Noisy Are The Rooms? but he is glad that he took a different path, as his current musical output is diverse and rich.

Post-musical hidden object image

The trio’s music consists of eclectic sounds and short, pointed phrases like in hidden object images. There are no clear structures, harmonies or tangible melodies in their soundscape. Nevertheless, the musical disputes between the three musicians conjure up images in the mind: I feel transported to a roaring metropolis or as part of a game animation.

With their density and abundance of individual musical parts, How Noisy Are TheRooms? capture the zeitgeist of today’s restless world. Alfred Vogel explains in the interview: “Music or art should always reflect the world we live in. What is overwhelming? Today’s events are also overwhelming. Everything happens at the same time. Everything, everywhere, all at once. It’s the same in our sound”. How Noisy Are the Rooms? is this year’s edition biggest discovery for me at Willisau Jazz Festival.
Luca Koch

Cédric Piromalli, Christian Wolfarth, Frantz Loriot, Almut Kühne, Alfred Vogel, Sudden infant

broadcasts SRF Kultur:
Neue Musik im Konzert, 25.10.2023: Anarchie und Energie am Jazzfestival Willisau, Redaktion Benjamin Herzog.

neo-profiles:
How Noisy Are The Rooms?, Joke Lanz, Der Verboten, Antoine Chessex

Tag: Luca Koch

Lauren Newton’s vocal artistry

Forging improvisation: Willisau Jazz Festival 2023