ORYNX-IMPROVANDSOUNDS.BLOGSPOT.COM/2021/11: November 21, 2021; Zlatko Kaučič Tomaž Grom Torn Memories of Folklore Zavod Sploh ZASCD26

Zavod Sploh strikes again! The physical (sadistic) playing of double bassist Tomaž Grom and the airy strike of percussionist Zlatko Kaučič, superbly recorded, combine in expressive and nuanced dialogue throughout ten vignettes collected under the title Torn Memories of Folklore. If folklore there is, it is above all an imaginary folklore and an allusion to a technique specific to Kaučič, consisting in surreptitiously shaking very fine metal accessories which clash together like a bracelet of shells attached to the ankles of dancers. Also the power of the playing of the fingers on the strings a la Charlie Haden of the double bass of Tomaž Grom, who uses from time to time a “cacophonator”, that is to say a rustling electronic box (?). Zlatko Kaučič's particular and free play suggests rhythm and a rare sense of swing while not marking time. The quality of the recording putting the percussion in the foreground, the very precise know-how of the drummer and his sensitivity make this album a remarkable document for lovers of percussion per se. Compared to their previous album, The Ear is the Shadow of the Eye, the musical intentions and the sound result are remarkably different. As much as something viscerally organic and dense emanated from this first attempt, very successful, while we are dealing in this new version of their very endearing collaboration, with a more playful aspect and aerial acoustics, focused on the clarity and readability of the two musicians in relation to each other. In these Torn Memories reigns a beneficial diversity of strikes, shocks, caresses, frictions and flawless efficiency in conveying a different message. Musically, I like their first as much as this following album. Similarly, the detailed information on the cover of the Ear is The Shadow in a destructured and multicolored graffiti style is almost illegible, that of Torn Memories is printed in a rational black on white manner. Of course, as very often with this label, the sleeves (graphic design Matej Stupica) and his successive colleagues, are remarkable with a very graphic insert in A3 format folded in twelve in the laminated cardboard sleeve. A Slovenian label to follow which is betting on sharp, radical music with the necessary openness friction and flawless efficiency in conveying a different message. Musically, I like their first as much as this following album. Similarly, the detailed information on the cover of the Ear is The Shadow in a destructured and multicolored graffiti style is almost illegible, that of Torn Memories is printed in a rational black on white manner. Of course, as very often with this label, the sleeves (graphic design Matej Stupica) and his successive colleagues, are remarkable with a very graphic insert in A3 format folded in twelve in the laminated cardboard sleeve. A Slovenian label to follow which is betting on sharp, radical music with the necessary openness friction and flawless efficiency in conveying a different message. Musically, I like their first as much as this following album. Similarly, the detailed information on the cover of the Ear is The Shadow in a destructured and multicolored graffiti style is almost illegible, that of Torn Memories is printed in a rational black on white manner. Of course, as very often with this label, the sleeves (graphic design Matej Stupica) and his successive colleagues, are remarkable with a very graphic insert in A3 format folded in twelve in the laminated cardboard sleeve. A Slovenian label to follow which is betting on sharp, radical music with the necessary openness the detailed information on the cover of the Ear is The Shadow in a destructured and multicolored graffiti style is almost illegible, that of Torn Memories is printed in a rational black on white manner. Of course, as very often with this label, the sleeves (graphic design Matej Stupica) and his successive colleagues, are remarkable with a very graphic insert in A3 format folded in twelve in the laminated cardboard sleeve. A Slovenian label to follow which is betting on sharp, radical music with the necessary openness the detailed information on the cover of the Ear is The Shadow in a destructured and multicolored graffiti style is almost illegible, that of Torn Memories is printed in a rational black on white manner. Of course, as very often with this label, the sleeves (graphic design Matej Stupica) and his successive colleagues, are remarkable with a very graphic insert in A3 format folded in twelve in the laminated cardboard sleeve. A Slovenian label to follow which is betting on sharp, radical music with the necessary openness the sleeves (graphic design Matej Stupica) and his successive colleagues, are remarkable with a very graphic insert in A3 format folded in twelve in the laminated cardboard sleeve. A Slovenian label to follow which is betting on sharp, radical music with the necessary openness the sleeves (graphic design Matej Stupica) and his successive colleagues, are remarkable with a very graphic insert in A3 format folded in twelve in the laminated cardboard sleeve. A Slovenian label to follow which is betting on sharp, radical music with the necessary openness

WWW.MLADINA.SI: 10. 9. 2021; Zlatko Kaučič, Tomaž Grom: Raztrgana folklora spomina

Avtentična ekspresija, izbruhi nezavednega in kartiranje nikogaršnjih zvočnih topografij so zamisli, ki jih povezujemo s projekti bobnarja/tolkalca Zlatka Kaučiča in kontrabasista Tomaža Groma, velesil slovenske muzike, ki že več desetletij gojita umetnost impro glasbe, raziskujeta potenciale nekonvencionalnega muziciranja in ustvarjata čezmejno, ne le geografsko, tudi estetsko. Po prvencu Uho je senca očesa je pred nami nov izdelek, skupek kompozicijsko dinamičnih in zvokovno evokativnih elektroakustično-jazzovskih gmot, ki nas srkajo vase, vodijo po skritih hodnikih našega podpodja, bodejo, raztegujejo in občasno ljubkujejo. Izmuzljiva živa muzika, ki odpira psihedelični portal spominov.

WWW.SALT-PEANUTS.EU: 24. november 2021; ZLATKO KAUČIČ / TOMAŽ GROM

The duo of Slovenian master drummer-percussionist Zlatko Kaučič and double bass player Tomaž Grom, who is also the founder of the Zavod Sploh association, sounds like these two gifted improvisers transforming their instruments into untimely sonic generators. Kaučič sounds like a mysterious shaman who casts powerful spells while Grom sings with his bull fiddle and at times even sounds like an alien mad scientist who experiments with Earth’s resonant surfaces. Swedish sax player Martin Küchen, who wrote the liner notes for «Torn Memories Of Folklore / Raztrgana folklora spomina», observed that the listening experience of this duo «is a dresser of massive possibilities. Sudden endings? – then another drawer is opened as quick as the first one was closed – or left half-open».

«Torn Memories Of Folklore / Raztrgana folklora spomina» follows the debut album of this duo, «Uho Je Senca Očesa / The Ear Is The Shadow Of The Eye» (Zavod Sploh, 2019). There are no details if any of the ten pieces anything to Slovenian folk music, but there is plenty more than even the most trained ear can grasp in one listening. Kaučič and Grom have played together in various musical contexts since the nineties but only in recent years as a duo. Both Kaučič and Grom, who augments his bass with synthesizer, bring to this meeting tons of experience, strong-minded and highly personal approaches to time, space and sound, and, obviously, their own inventive extended techniques.

The atmosphere of this album is intimate but hyperactive. Kaučič and Grom burst with spontaneous ideas, and let the intuitive stream of sounds lead them. But they also know how to create enigmatic textures out of these sounds, as well as how to build the tension and relieve this intense tension with playful gestures. It is obvious that they enjoy shaping and molding sounds and rhythmic patterns, and do not intend to settle on any familiar sound or pattern. But most of all, Kaučič and Grom invite the curious listener to participate in their associative, secretive conversation, torn memories and expressive and enchanting stories, trivial complaints and ironic comments.

WWW.FREEJAZZBLOG.ORG: December 14, 2021; Zlatko Kaučič/Tomaž Grom – Torn Memories of Folklore (Zavod Sploh, 2021) ****1

In the liner notes by Martin Küchen the Slovenian duo of Zlatko Kaučič (drums and percussion) and Tomaž Grom (double bass, cacophonator II) is described as a “dresser of massive possibilities”. I couldn’t have said it better that this. Just before the turbulence of the pandemic this duo presented The Ear Is The Shadow of The Eye, a set of magnificent homemade improvisations that I reviewed and made it in my best of for 2019. This is the time for another great one…

As someone who his mother language is not one that a lot of people speak, I really enjoy the fact that all the titles of this release (plus many others in the label’s catalogue) are presented in the musician’s language. It offers me a sense of warmth and geographical orientation. But, since that improvisation is a universal way of communicating, the aforementioned fact doesn’t allow any chauvinistic implications. It is just a reminder that the improvisational ethos isn’t a working method (a chosen preference maybe) of the western world, but a way to produce art in almost all cultures.

Again in his liner notes, Küchen describes how, when listening to the album on headphones, the ambience of the environment integrated in most of the tracks and how the music welcome this, supposedly, unwelcome interference. My relationship with this cd (there are some numbered LP’s as well, which I suggest to buy) came from a whole different perspective. I listened to it at home, while working or relaxing, and gave to it a lot of attention, because, as with his predecessor, I was and still am, quite amazed from the richness of the final result.

The recording seems less home made this time and more focused probably. It’s, though, amazing the way you can be deceived if you do not know about the instrumentation. They way they utilize their instruments –they bend them, pressure them, using hands, bow, sticks or whatever else is available- produces too many noises (to be a bit blatant here) for the ear to comprehend –yes, it’s just two musicians. I felt continuity in the succession of the tracks, but the titles made me wonder, all the time, if there are small stories to be told. Being not familiar with the language, all non sonic possibilities (to quote Martin Küchen again) seemed real.

Wood, cymbals, sticks, bows, fingers, thoughts that integrate spontaneous reactions, drums, strings. Everything, again like their previous cd, is in the right order but quite chaotic and not at all orderly.