Pascal Schumacher: Drops & Points feat. Maxime Delpierre

Pascal Schumacher, a respected, multi-award-winning composer, jazz vibraphonist and bandleader had his fill of contemporary jazz. He was looking for something new, something unexpected, unknown. He performed with Francesco Tristano and Bachar Mar-Khalifé on the album Afrodiziak, and featured on Munich-based composer Arash Safaian’s album ÜberBach. Having become increasingly interested in electronic music, he disbanded his quartet.

Pascal’s new album Drops & Points sets these experiences and influences to music in a very personal way. At the same time, it also represents his evolution as a musician and composer towards modern classic. For the album he collaborated with French guitarist Maxime Delpierre. It was a musical blind date in the recording studio, a well-orchestrated rendezvous; between Luxembourg – the last sovereign Grand Duchy in the world – and crisis-ridden Paris; between conceptual compositions and creative improvisation; and between harmony and friction.

Maxime Delpierre is an audio esthete, who has a love of detail and is keen on experimentation. His guitar bridges jazz (founding member of Collectif Slang and Limousine), rock and electropop (band member and producer of DJ Joakim). Delpierre makes Schumacher’s arrangements flow as smoothly as though they were riding a wave.

The album was produced by the multi-talented Joachim Olaya, a sound and video designer who has worked with Christine and the Queens, Francesco Tristano and Agoria among others. Following on from Afrodiziak and Left Tokyo Right, this is the third time Olaya has collaborated with Pascal Schumacher.

Despite its consistent minimalism, Drops & Points features a large array of booming, fizzing, sizzling and prickling sounds. It is the musicians’ capacity for spontaneous passion that turned this blind date into a great collaboration. To conclude the set the duo invited drummer Jeff Herr to join the show.

https://www.youtube.com/watch?time_continue=43&v=F0ABgiWT-bQ

“The music was ethereal and dreamy, a pastel soundscape achieving a lovely anthemic quality towards the end as the aural sky widened. Vibraphone floated like dense fog and the guitarist avoided any Bill Frisell-ian cliché. Steve Reich would have found this mesmerizing.” - The New York City Jazz Record

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