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Cranes is a brandnew collaboration, a European project. Three extraordinary improvisors from Germany and France maintain their longterm musical relations by dedicating themselves to cross-linked sonic experiments and the discursive use of forms. Their music is powerfull and fragile at the same time.

Matthias Müller, trombone
Eve Risser, piano
Christian Marien, drums



"Matthias Müller a bubeník Christian Marien spolu tvočí duo Superimpose. Pokud přizvou ke spolupráci dalšího muzikanta, většinou se změní pojmenování (například ve zmiňovaném The Astronomial Unit je jim třetím do kolegia basista Clayton Thomas). Ve spojení s francouzskou pianistkou Eve Risser (mimochodem původní participantkou na projektu Le 7éme continent) si dali název Cranes. Jejich album Formation < Deviation má v sobě také určitou bipolárnost, což naznačuje již titul první téměř osmnáctiminutové seance The Inevitability of Truth and Mistake, kde se vše odehrává v neustálých kontr(e)akcích a krásně tu přes veškerou pospolitost vyniknou jednotlivé nástroje v čisté podobě. Druhá cca třiadvacetiminutová instantní kompozice Illusion of Innocence je výrazně rozbitější na prvočinitele, ale místy se valí vpřed s mohutnou vehemencí, aby se záhy objevily i očistné momenty, dokud vše nedospěje k frenetizujícímu závěru. Má to v sobě nesmírnou průzračnost i nosnost a i ve fragmentárních částech všechny prvky krásně zapadají do sebe."
Petr Slabý, HisVoice, March 3, 2022

"With ‘Cranes’, we are in the company of a new collaboration of two German and one French musician: Matthias Müller (trombone), Eve Risser (piano) and Christian Marien (drums). A new trio, but these musicians know one other already from various other combinations: Müller and Marien perform together already some 15 years as a duo under the moniker of Superimpose. Also, they have a trio called Astronomical Unit with Australian musician Clayton Thomas on bass. Müller played in different big ensembles led by Risser. Marien and Risser first met at Moers Music festival in 2015. Their debut recording presents two lengthy improvisations titled ‘The inevitability of Truth and Mistake’ and ‘Illusion of Innocence’. Titles that suggest we are in the company of philosophers. Their movements and interactions are well-considered and well-chosen. What gives their music power, although it often continues delicately. Especially in the second improvisation, the pulse is an important element in their rhythmic play with intervals before moving in another direction with concentrated trombone-playing in the lead, producing an intense texture followed by a section of hammering piano. Listening to ‘The inevitability of Truth and Mistake’, the image of a marble run popped up in my mind to visualise the music, a beautiful 17-minute improvisation that continues on a constant dynamic level. Their interactions are very well proportioned and continue in a careful and self-secure way, resulting in a very sensitive and evocative improvisation."
Dolf Mulder, Vital Weekly, December 14, 2021

"Referencing both the life-celebrating beauty and mating dance of aviary cranes and the heavy lifting and transporting power of mechanical cranes is this French-German trio of improvisers. Paris-based pianist Eve Risser has been involved in numerous small and large ensembles like the Orchestre National de Jazz and with singer Sofia Jernberg, who has also worked with German drummer Christian Marien. He and fellow Teuton, trombonist Matthias Müller, are part of an equivalent number of collaborations in Berlin with players like saxist Frank Gratkowski and trumpeter Axel Dorner, among others. Together the three Cranes concentrate on pulling unexpected timbres from their instruments during the CD's two extended tracks.
Comfortable plucking, stroking and twanging the strings of her instrument's internal piano-harp, Risser clips and clicks these treble tones when not implanting keyboard glissandi or intense note chiming in the narratives. Marien subtly rolls mallets or sticks on wood, metal and skin, while Müller's interface is a combination of basso lowing, plunger expulsions and restrained tongue stops. Often subdividing their work into duos, brass puffs go up against cymbal buzzes at points; pressurized string strums meet stretched tongue vibrations elsewhere; and often intermittent key slaps and woody drum resonations define both piano and drums as percussion instruments.
The three often skirt cacophony, especially at the beginning of "Illusion of Innocence". But there and elsewhere, skill and smarts still allow the trio to express tonal extensions that arise from watery brass bluster, continuous player-piano-like pumping and shaking drum ruffs without neglecting episodic forward motion. With the expression of nearly limitless individual techniques while projecting a continuous narrative, the jagged and judicious program is a satisfying compromise between sound deviation and formation."
Ken Waxman, Jazzword, November 3, 2021

"Formation < Deviation is Cranes’ debut album, featuring Matthias Müller on trombone, Eve Risser on piano, and Christian Marien on drums. It was recorded at studioboerne45 in Berlin-Weissensee on November 11, 2017, and released on May 14, 2021 via Relative Pitch Records.
In Formation < Deviation all seems to be fluid, calm, and mysterious. The music surrounds not only our ears but our whole bodies.
It gives a sensation of exploring deep waters in a dream. At first, that might seem stressful but it’s not. Instead, it is strangely comforting. The music deploys an entirely new universe as slowly as one can progress in such an environment, only revealing a few inches at the time, in utmost serenity.
And in this universe, the physical laws are obviously different: the sounds, the rhythms, the attractions, or interactions of the instruments are all bent, mixed, and peacefully re-formed.
It is so relaxing, one even wonders if the music is not the result of our own movements progressing in a deep sea, altering the stillness of the area we are exploring. Maybe.
This must be what a world of music sounds like at 30,000 feet underwater."
Paul Medrano, Best of Jazz, October 25, 2021

"Two German improvisers, trombonist Matthias Mueller and drummer Christian Marien, join forces with French pianist Eve Risser for a brace of intriguing collectives under the moniker Cranes. Müller and Marien have performed together since 2006 as Superimpose, often appearing with guests, including saxophonist John Butcher, trumpeter Nate Wooley and vocalist Sofia Jernberg on their 2021 release With (Inexhaustible Editions). Prior connections with Risser include Müller's participation in her large ensembles, like the Red Desert Orchestra, while Marien and Risser first played together at the Moers Festival in 2015.
Those strands cohere in this studio session from 2017, where they share an ethos which emphasizes texture and sound, largely avoiding the conventions of their instruments. Risser, as she does in the co-operative trio En Corps, transforms her piano into a sonic engine via a particularly personal take on the sort of piano preparations pioneered by John Cage. She manipulates dampened keys to achieve effects as varied as a frog like croak or a gamelan trill. Müller utilizes the full vocabulary of the contemporary trombone, switching from the brassy norm to didgeridoo-like drones, gusty exhalations and gurgling warbles. In that he's well matched by Marien's litany of scrapes, ratchets, taps and rattles.
The result can be like listening to a discussion in an alien language. While one can't be sure what they are saying, one can tell communication is taking place. Different voices assume prominence at different times, but always within an overall fabric minimalist in register in which the occasional repeated patterns or sudden interventions assume greater import when they arise. Each piece transcribes an arc. So "The Inevitability Of Truth And Mistake" moves from an exchange of rustles, metallic shimmers and wavering sustains to overlapping layers and heartbeat pulsations before swelling to a final crescendo.
Any number of ear-catching details inhabit the broad trajectories. An especially engaging passage in "Illusion Of Innocence" occurs when chuntering trombone plosives, Morse code piano strikes and tappy patter combine to generate a lurching momentum. It's just one example of the surprising soundworlds they create, testament to an extraordinary focus."
John Sharpe, All About Jazz, October 8, 2021

"Diese neue Formation verspricht nicht nur viel, sie löst auch jede Menge ein. Ein Trio, in dem alle Mitwirkenden zu allem fähig sind: Musizieren auf den Punkt, in der Fläche, im Raum; Perkussives, Verspieltes und der volle Sound; Wuchtiges und Zerbrechliches; der nahe, der distanzierte und der ferne Klang (um wieder einmal auf das große Prosastück von Gert Jonke zu erinnern). Die drei Klassenbesten ihres Instruments erzeugen mit wenigen Pinselstrichen eine Dichte, die andere Ensembles im Bigbandformat nicht zustande bringen. Zwei lange Stücke, eines knapp unter, eines knapp über der 20-Minutenmarke, haben sich Müller, Risser & Marien als Dimension zurechtgelegt, die ihnen die größtmögliche Bewegungsfreiheit belässt. Eve Risser ist häufig im Klavier und um es herum unterwegs, um alle neuralgischen Stellen nach ihren Klangfähigkeiten abzuklopfen. Christian Marien, der der Welt, Gott und dem Teufel am Schlagzeug einheizt, gibt die Rhythmen nicht vor, sondern erfindet sie im Moment. Und Matthias Müller, Mariens langjähriger Komplize, bedient sich an der Posaune Techniken, von denen andere nur zu träumen wagen. Und das Beste ist: Im Kollektiv klingt das Ergebnis (und der Prozess dorthin) noch intensiver als in der Summe der einzelnen Teile. Dass sie auch sonst nicht auf den Kopf gefallen sind, belegen die Titel der beiden Langstücke The Inevitability of Truth and Mistake und, besonders hübsch, Illusion of Innocence. Und der Bandname selber, der sowohl Kräne als auch Kraniche bedeuten kann! Spitzenplatte einer Spitzenband, fast geriete ich ins Schwärmen."
felix, Freistil Magazin, September 2021

"The collaboration of Müller and Marien with Risser became a new working band, Cranes, and its debut album, «Formation < Deviation» was recorded at Studioboerne45 in Berlin in November 2017. The titles of the two extended free-improvisations relate to the essence of the art of the moment and in a way offer highly personal and fresh perspectives on this art, as well as sonic experiments. Risser plays most of the time inside the piano and her fantastic extended techniques trigger Müller and Marien to employ their own extended techniques and to offer on the opening piece «The Inevitability of Truth and Mistake» elusive and mysterious, kaleidoscopic conversations that have strong ritualist veins that alternate with industrial-like veins until Müller anchors this fragile interplay into a fragile melodic theme. The following «Illusion of Innocence» (a title that corresponds with AMM’s Eddie Prévost assertion that no sound is innocent, the title of his book from 1995) maintains the mysterious atmosphere but relies on eccentric yet strangely playful percussive gestures by Müller, Marien and Risser; then it morphs into a minimalist drone that still follows the fragile vibrations but within a tense texture; and later Risser and Marien suggest an uncompromising percussive pattern while Müller colors it with sharp, restless voice."
Eyal Hareuveni, Salt Peanuts, August 14, 2021

"Darkly powerful sonic interaction through transformative use of their instruments, the trio of trombonist Matthias Müller, drummer Christian Marien and pianist Eve Risser obscure their sources through non-traditional techniques, energetically and mysteriously evoking industrial mechanisms with riveting nuance and inventiveness, an exceptional achievement."
Squidco, June 2021

"Trombonist Matthias Müller, pianist Eve Risser, and drummer Christian Marien freely play two percussive, textural, sidelong tracks on Formation < Deviation.
Müller and Marien are familiar partners, forming the duo SuperImpose, which reissued their eponymous debut earlier in 2021 and are expecting an ambitious set, With, featuring collaborations with John Butcher, Sofia Jernberg, and Nate Wooley, out later in 2021 via Inexhaustible Editions. This is their first recording with Risser, who perhaps most recently appeared on Pedro Melo Alves’ In Igma in 2020.
Each musician leverages their own characteristic command of preparations, extended techniques, and otherwise textural soundings for an expansive palette. Sometimes timbres blur to confuse the source, a fluttering could be breath or brushes, a woody click tapped piano body or drumsticks, a metallic shriek bowed cymbals or some warped inside-piano glissando. Most other times, they remain timbrally close, like the metallic trio of gonging cymbals, tinny ringing trombone bell, and the truncated clang of muted hammered keys towards the middle of “Illusion of Innocence,” or the metronomic yet organic techno exchange between piano and drums towards the end. They stay close too, in their ranges of dynamics and density and pulse. And pulse is a salient feature here, percussive playing shaping a rhythmic soundscape not unlike the stippling on the cover. Preparations and other techniques on the piano more often emphasize discrete soundings like muted hammerings and less resonant inside-piano pluckings than the lingering harmonics of traditional playing, resembling the strike and chime of alarm and grandfather clocks when neighboring strings are allowed to ring. The trombone more often plays pointillistic staccato, but even sustained soundings stress pulse, resembling flickering flame or popping cavitation more than smooth lines. In a kind of reversal of roles, the drums might linger in the air longest, the longwave kick drum suspending with the syrupy fluidity of bass guitar, tapped cymbals building a singing resonance. This melange of texture and pulse make a particularly tactile, sensual listening experience."
Keith Prosk, Freejazzblog, June 3, 2021

"Los tres trombonistas que primero llamaron mi atención eran alemanes, maestros del instrumento y grandes improvisadores: Albert Mangelsdorff, y los hermanos Bauer, Konrad y Johannes. De cada uno de ellos conservo un vinilo con el cariño que significa haber realizado un gran descubrimiento musical en la época en que los compré. En este caso fueron el trío de Albert Mangelsdorf / Jaco Pastorius / Albert Mouzon: Trilogue -Live! (MPS, 1977), Conrad Bauer: Flüchtiges Glück (Riskant, 1986) y el álbum homónimo de Johannes Bauer / Annick Nozati / Fred van Hove (Amiga, 1989).
Matthias Müller tocó varios años en el “Deutsch-französischen Jazzensemble“, que fue dirigido por Albert Mangelsdorff. También con Johannes Bauer y Christoph Thewes participó Matthias Müller en un álbum de tres trombonistas llamado “Posaunenglanzterzett - Live im Künstlerhaus” (MaMü Music, 2011). La salud de Johannes fue deteriorándose cuando estaban planeando un concierto de cuatro trombonistas: el propio Johannes, Matthias Müller, Matthias Muche y Jeb Bishop. El concierto se celebró en Colonia el mismo día del triste deceso de Johannes Bauer en mayo de 2016. “Konzert Für Hannes” fue publicado en Nottwo Records.
"No subimos al escenario para improvisar determinada música, sino porque queremos comunicar algo", decía Johannes Bauer del trío con Nozati y van Hove. Por regla general, los músicos improvisadores son gregarios; o lo que es lo mismo: interactúan para comunicarse, necesitan tocar con otros artistas, sean músicos o de otras disciplinas. De estos múltiples encuentros podrían salir las mejores combinaciones, pero no basta con el conocimiento musical o el entendimiento entre las partes, también improvisar requiere de “la implicación, que es incluso más importante que la técnica” (John Stevens). Efectivamente, la comunicación a veces no se logra con la técnica o el virtuosismo instrumental, ambos pueden caer en el discurso vacío. La técnica, como dice el trompetista Wadada Leo Smith, se trata de “una relación directa con la energía mental, espiritual y mecánica que se necesita para expresar un impulso creativo.”
En Cranes existe el impulso creativo desde el momento en que conocen muy bien el terreno donde se mueven. Son décadas de encuentros tocando por separado las que han realizado los integrantes de este trío con otros músicos, y entre ellos. Por ejemplo, Matthias Müller y Christian ya habían coincidido musicalmente incluso antes de grabar en dúo Superimposse (2006), y en el trío The Astronomical Unit, con el contrabajista australiano Clayton Thomas (Relativity, en 2008); y esta asociación de los dos músicos alemanes se nota en el conocimiento mutuo -el entendimiento de las partes- quedando manifiesto en las evoluciones del trombón y la batería desde los primeros minutos de escucha del álbum “Formation < Deviation”.
Eve Risser ha abandonado en Cranes cualquier reminiscencia del lenguaje jazzístico que en buena parte le precedió en su estancia como pianista de la prestigiosa Orchestre National de Jazz en su país, Francia. Aquí afronta su magnífica excelencia musical centrándose fundamentalmente en las cuerdas de un piano preparado y abarcando con amplitud esa amplia paleta sonora que despliega con una estela tímbrica sorprendente (más llamativa en “The Inevitability of Truth and Mistake”). Tanto esta pieza como “Illusion of Innocence”, exquisitamente grabadas, son piezas muy orgánicas, trabajadas con cohesión y donde funciona una escucha mutua admirable.
Las técnicas extendidas, tímbricas y armónicos son inherentes en cada integrante de este trío, logrando un clímax de empatía instrumental extraordinario. Las piezas conllevan una dinámica en que se ven favorecidas por un entramado sonoro lleno de matices donde las texturas del trombón se adentran en diferentes capas a lo largo de ambas piezas con una palpable expresividad y donde, en ocasiones, cuesta diferenciar la procedencia de los sonidos de la percusión y ciertos timbres pianísticos. También este lenguaje improvisado y equilibrado, da lugar a pasajes con un ambiente de apremiante movimiento, mécanico y repetitivo. No es preocupante, en absoluto: los músicos están comunicándose."
Chema Chacón, Oro Molido Magazine, May 2021

"This disc was recorded at Studio Boerne in Berlin in November of 2017. Right from the opening sound, we know we are in for some magical, mysterious improv. The skeletal percussion, eerie steam-like trombone drone-lines and subtle clangs of tapping on & rubbing the strings of the piano makes for an ethearial blend. Mr. Muller takes his time to stretch out each note or sound, carefully shifting each nuance as the flow continues. Mr. Marien keeps a low-end ritualistic throb pulsating on bass drum or tympany while Ms. Risser cautiously taps out minimal morse-code-like signals inside the piano. There are a number of sounds here which are hard to figure out who is doing what which only adds to mystery. Is that bowed bass, no? Hmmmmm. Rubbing the strings inside the piano, perhaps?!? What I find most interesting about this disc is the way this trio has created their own sonic world or environment which is not so easy to do and then sustain it for an entire full length disc. There are also some truly transcendent moments when the music becomes a sort of current which stretches our imagination and hence feelings, as if we are entering a new place of inner or outer space."
Downtown Music Gallery, Newsletter, May 14, 2021

Berlin, magiczne miejsce zwane Studioboerne45, listopad 2017 roku i trójka muzyków: Matthias Müller – puzon, Eve Risser – fortepian oraz Christian Marien – perkusja. Dwa swobodnie improwizowane sety, trwające łącznie 41 minut z sekundami.
Otwarcie spektaklu dźwiękowego, który – uprzedźmy wypadki - istotnie nas zachwyci, wydaje się być nad wyraz delikatne. Struny piana błyszczą z oddali, werbel drży, a z tuby dużego blaszaka dobywają się podmuchy chłodnego powietrza. Sytuacja sceniczna od razu nabiera jednak pewnej wewnętrznej dynamiki i ładu dramaturgicznego. Posadowione na flankach piano i perkusja budują metafizykę rytmu - oba instrumenty brzmią chwilami niezwykle podobnie, aż trudno poznać, który z nich odpowiada za dany dźwięk. Środkiem narracji płynie puzon, który tańczy, śpiewa lub zalotnie prycha – czujny cerber rozkwitającej improwizacji. Perkusja stara się budować narrację, ale piano wciąż stawia znaki zapytania i kreuje suspens, który zdaje się chwilami krępować inicjatywę ustawodawczą pierwszego z wymienionych instrumentów. W dziewiątej minucie następuje pierwsze tego dnia wyhamowanie wprost w objęcia ciszy. Prawdziwe królestwo meta akustyki – rezonujące struny, moszczący się puzon, wyjątkowo głęboki drumming. Po czternastej minucie pojawia się pierwszy dźwięk klawisza fortepianowego, ale stanowi on tu jedynie ornament, nie zaś narzędzie budowania narracji. Na zakończenie opowieść nabiera gęstości, która podkreśla jej walory rytmiczne, a dodatkowo zasypuje nas jeszcze deszczem urokliwych fake sounds.
"Drugi set zdaje się być początkowo budowany niemal wyłącznie ze strzępów dźwięku. Ktoś ledwie dotyka strun, ktoś opiera palce na wentylu, ktoś drży metalem perkusji. Po niedługiej chwili piano przechodzi do fazy preparacji, a puzon i perkusja lepią się w jeden strumień post-rytmu. Flow budowany jest wszakże na wdechu, w aurze kreatywnego zaniechania, skoncentrowany na ugniataniu dźwięków, które nie powinny wybrzmieć do końca. Tuż przed upływem ósmej minuty ta półmartwa narracja staje w miejscu, ugaszona do dźwięku pojedynczej struny i ambientowego post-drummingu. Sygnał do delikatnego wybudzenia daje puzon – kind of silence trance! Moc jednak dopada muzyków – struny piana świszczą, jak pociski wielkokalibrowe, puzon bucha, jak lokomotywa parowa, a perkusja zawłaszcza teren, niczym wojskowy śmigłowiec. Stopping nadchodzi dość niespodziewanie i przeradza się w rezonans, który zaczynać wyć, niczym syrena alarmowa. Ale to nie koniec cudów na dziś! Po niedługiej chwili meta drumming piana i puzonu płyną ku górze na szeleszczących talerzach - wszystkie dźwięki formują się w jeden strumień, która zaczyna incydentalnie hałasować. Tuż pod koniec siedemnastej minuty muzycy znów delikatnie hamują i oddają narrację w ręce zmutowanego brzmieniowo fortepianu. Pod jego klawiaturę podłącza się perkusja i taki właśnie duet wiedzie nas w nieznane przez dobrych kilka minut. Puzon wraca na wielki finał, który skrzy się – to już nie jest zaskoczenie! – efektowną, wewnętrzną rytmiką. Płomień narracji umiera pod presją wdechów puzonu i akcentów percussion na obu flankach."
Andrzej Nowak, Spontaneous Music Tribune, May 7, 2021

"Matthias Müller - Posaune, Eve Risser - Piano und Christian Marien - Drums, die haben in Berlin als CRANES Formation<Deviation (RPR1127) 'bewiesen', in zwei längeren Freispielen, die sie mit 'The Inevitability of Truth and Mistake' & 'Illusion of Innocence' einigermaßen philosophisch überschrieben haben. Der mit Brom, Dalgoo, Derek plays Eric, der Insomnia Brass Band oder Andreas Willers 7 of 8 etc. etc. erschreckend umtriebige Drummer, der von Absolutely Sweet Marie über Kern bis Splitter Orchester kaum weniger präsente Posaunen-Müller und Risser, die Beifall einheimst solo mit "Après un Rêve", als Pianodoppel mit Kaja Draksler, dem Trio En-cOrps und afrotrop mit dem Red Desert Orchestra, bei dem Müller maliesk und burkinesisch mitposaunt, das ist gebündeltes Knowhow, um für die Vorzüge der Abweichung zu plädieren. So wie sie zusammen von allen Erwartungen an Posaunen- oder Pianojazz abweichen, so entzieht sich insbesondere Risser dem, was 'man' von einem Piano erwartet. Bei ihr ist Holz im Spiel und alle Register des Innenklaviers, das unter ihren Fingern als Drahtharfe plinkt, dröhnt, federt und dongt, dazu schrappt sie sporadisch die präparierten Keys wie abgetönte Holzfrösche. Kurz, das Piano ist mutiert zur Klangskulptur für alles außer Klimperei. Dadurch ergeben sich eigenartige Symmetrien und Verzahnungen mit Mariens klappernder, tapsiger, trappeliger, pochender Tonsetzerei, mit ratschender Action, rumorenden Turbulenzen, metallisch schillernden Diskanzen, knarzig festgezogenen Schrauben, ostinater Zweifingermonotonie, Regentropfen, die in Klangschalen tropfen. Mariens Schläge fallen derweil wie auf Karton, Holz oder irgendwelchen Schrott. Und Müller? Der knört, schlabbert, faucht, blubbert dazu so abseits von 'Blasmusik' wie er nur kann, wie es nur geht. Er brummt zirkularbeatmete Dauerklangfäden, er 'deformiert', was von Tricky Sam Nanton über Grachan Moncour III und Roswell Rudd bis Mangelsdorf, Rutherford und Wogram als posaunistischer Goldstandard gilt, ins Polymorphe. Für ein surreales, phantastisches, visionäres Äquivalent zu Rousseaus geträumtem Dschungel, Max Ernsts 'La forêt', 'L'Europe après la pluie' oder 'Sie sind zu lange im Wald geblieben'. Mit schnarrendem Drang zu gongendem Rumor und Windhauch, der in metalloiden Nadelwäldern harft und zirpt. Dazu dröhnen und sirren Dauertöne mit plonkenden, pickend gehämmerten Akzenten, zu bebendem, wie mit Kurbel gedrehtem Schlaghagel, matschigem Patschen, hin zu Müllers final ululiertem Tremolo mit schnaubendem Tiermaul. Un Rêve à trois."
Rigobert Dittmann, Bad Alchemy #110


released May 14, 2021

All music by Eve Risser (SACEM), Matthias Müller and Christian Marien (GEMA)
Recorded by Kassian Troyer at studioboerne45 in Berlin-Weissensee on November 11, 2017.
Mixed by Volker Meitz.
Mastered by Olaf Rupp.
Cover Art by Eve Risser.
Cover design, Spl@T!
Executive producer, Kevin Reilly.
Thanks to Musikfonds e.V.

Relative Pitch Records RPR1127


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Matthias Müller Berlin, Germany

Matthias Müller is a trombone player, improvisor, and composer based in Berlin.

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