RIENCD46

At the time, we wanted to record four pieces for a theatre production in Paris. So we met one more time for fun, had a rehearsal and played in front of a few friends.

After that, we just couldn't leave it. TRIO OBSCUR more or less founded itself. The saxophone, piano and double bass line-up isn't really typical for jazz or tango, but it gave us the scope to develop our own language. We released our first CD "eclairage intime". The feedback was overwhelming - and so were the problems that followed on from it. We didn't actually have any time for a new ensemble, so Trio Obscur only exists on stage. It's as though we're leading the lives of assassins, who wait for a telephone call before being sent to a city or village and then carrying out their job. The rest of the time we have virtually no contact with one another, because we're always on the road. So it's always pretty amazing that we ever get to walk onto one of these wonderful stages together, with our saxophones, music sheets, double bass and cases and wonder when D.D is going to be able to get his coffee fix. Later he lies down in his double bass case in the cloakroom and sleeps, Mulo tidies up his sheets of music, clarinets and saxophones and I finally get to read my newspaper. Dreary? Yes and no, because as soon as we start playing the first piece, I get the feeling that it was only yesterday that I played, although it's actually three weeks ago. No, we don't meet just for fun anymore - but when we play, it is fun.
Peter Ludwig