It's a
commonplace nowadays that the jazz community is the world's most
broad-based and cosmopolitan school of art, but the kid from Koln is
further proof of the truth: that jazz is spoken internationally, honored
by the worldwide embrace of its best poet-players' unbound creative
rapport. If Joachim Schoenecker, born in 1966 in Saarbrucken, Germany,
comes to jazz (subcategory: post-hardbop guitar combo) from what at first
glance seems like afar, on Common Language he gets jazz just right,
communicating warmly, gracefully, engagingly yet with an edge-as to the
music born.
Actually,
Joachim got the word 'Guitar!' at age 11. He emerged at 15 to gig with
local soul and jazz bands around his hometown and the area of Trier, then
beyond to France, Denmark and Sweden. Finishing school, he moved to Koln,
studied with Dutch jazz guitarist Wim Overgaauw at Hilversums
Conservatorium in the Netherlands, and in '89 enrolled in the
Musikhochschule Koln to work with Jiggs Whigham, John Taylor, Manfred
Schoof, et al.
Joachim formed
a straight ahead quartet (like the well-balanced one he leads here) in
'92, and took it all over the European festival circuit. Then in '95 he
came to the U.S. for the Thelonious Monk Institute of Jazz's prestigious
annual instrumental competition, becoming, in the course of fierce
playoffs, one of nine overwhelmingly talented semifinalists. Performing
for the jazz guitar worlds' best credentialed judges-Jim Hall, Pat
Martino, Pat Metheny, John Scofield and Mark Whitfield, among them-and
scene-making aficionados, Schoenecker stood out from the pack for his
confident yet sensitively lyrical touch, flowing but taut phrasing and
impressive melodicism. He demonstrates those same gifts on this debut
record, where's he's out to woo and win you.
He'll do it,
too-with five bright original compositions, a daring soliloquy on Monk's
"'Round Midnight," a trio version of "Ain't Misbehavin'" the refreshed
standards "I Hear A Rhapsody" and "My Shining Hour," and two tunes he
discovered, Buddy Montgomery's "Bud's Beaux Arts" and "Contemplation" by
young Koln tenor saxist Paul Heller. This repertoire adds up to something
more than a vehicle for Joachim and his compatriots Larry Fuller (piano),
John Goldsby (bass) and Jeff Hamilton (drums) to wow the listener with; it
unfolds as an inviting, varyingly paced but unfailingly propulsive program
ushering you where you've likely been wanting to go.
Starting with
the blues, of course, the onrushing stream of song from which, arguably,
everything subsequent issues. Schoenecker's "Blues & Fashion" asserts
in a most sophisticated manner that the blues never go out of fashion, and
fashion is barely a gloss on the blues. Swing it, brother! And further dig
his backbeat on "Bud's Beaux Arts," by the vibes-playing sibling of the
greatest post-bop guitarist (and for-sure Schoenecker influence-known by
those octave-spread lines) Wes Montgomery. Hard to get bluer than that!
"Snapshot" is Joachim's quick take on Gershwin's classic "I Got Rhythm"
changes, featuring deft stop-times and a variant in the bridge. It's also
a prime example of the guitarist's musical thrust: passages that kink and
twist as they climb, level off to trace a fine degree of detail, then make
a leap to heighten the thrills once again.
Schoenecker
switches to classical guitar, on which he displays enviable technique, for
his pal Heller's seductive ballad, and again on the saudade-steeped bossa
nova "Marie," which he penned for his daughter, born early in '95 (I
especially like the way the band, after its leader's tender solo guitar
intro, captures the essence of Antonio Carlos Jobim's idiom on that song).
Ultra-complimentary Fuller lays out on "Misbehavin'" to give Joachim extra
room, which he uses to establish a Kenny Burrrell-ish chord-solo mode
before breaking out, every bit the slayer who would stay out late. This is
where Goldsby, New York bassist and educator relocated to work with the
Koln Radio Big Band and teach at the Musik Hochschule, shows off his fine
arco technique, and Hamilton his skill with brushes. "Please Talk After
the Beep" is a minor-blues dating from Joachim's school days; his
adaptation of "Rhapsody," again showcases Hamilton's brush chops, and the
guitaristic value of holding ever-so-slightly back; his buoyant "Back and
Forth" means to summon the spirit of Monk. Of course, the shadow of
Thelonious, the only-est, hangs over the guitarist's shoulder on his
unaccompanied, darkly dramatic and soulful rendition of "'Round Midnight."
Joachim vividly evokes, and so, we assume, knows well, those lonely hours
after 12, the night owl's restless fantasies and how welcome is the
arrival of dawn. "'Round Midnight" was one of Joachim's showcase pieces at
the Monk competition, and "My Shining Hour" was another. That
irrepressible Harold Arlen melody leads him to unleash even more of his
bounty-including faultless articulation, mastery of harmony and harmonics,
firm grasp of propulsive chord figures, fearlessness of country twang and
frankly upbeat heart. And the band really comes together, too, each member
expressing personality aplenty. Forget the brushes, I say, when Hamilton
thumps those tubs!
Ending his
first recording with the promise of shining hours to come, Joachim
Schoenecker stands tall as a young guitarist of the first order. Busy now
back in Germany, fronting his trio (often featuring Goldsby),
collaborating with others and teaching at the Jazzhausschule Koln, he's
someone who will have more to say, someone to listen for, as you readily
understand when you hear him. Common Language delivers the clear message:
Joachim Schoenecker's arrived.
Howard Mandel Feb.
'97 - Down Beat contributing editor
