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Bauer / Rose / Lehn: Futch (Jazzwerkstatt)

The debut release of trombonist Johannes Bauer, Australian violinist Jon Rose and analog synth player Thomas Lehn, mutated improvisation for a Futched world.

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product information:

UPC: 4250079757787

Label: Jazzwerkstatt
Catalog ID: JW010
Squidco Product Code: 11073

Format: CD
Condition: New
Released: 2008
Country: Germany
Tracks 1-3 recorded on June 2, 2006 at Espace Multimedia Gantner, Bourogne, France. Tracks 4-5 recorded on June 1, 2006 at t-u-b-e Klanggalerie/Einstein Kulturzentrum, Munich, Germany by Thomas Lehn.


Johannes Bauer-trombone

Thomas Lehn-analogue synthesizer

Jon Rose-violin, electronics

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track listing:

1. Futch F 24:30

2. Futch U 11:01

3. Futch T 4:33

4. Futch C 9:17

5. Futch H 4:09
Related Categories of Interest:

Improvised Music
Rose, Jon
Electro-Acoustic Improv
European Improv, Free Jazz & Related
Rose, Jon
Trio Recordings

sample the album:

descriptions, reviews, &c.

"Having been around for only the last few years, trombonist Johannes Bauer, synth player Thomas Lehn and violinist Jon Rose have finally seen it fit to release their debut release. On his web-site, Jon Rose ponders the importance of "Futch". He rambles on about "Futch" and its variations as well as its importance in today's society:

"When FUTCH arrived, there were people who said 'Oh there is FUTCH' as if it had always existed - that there had always been FUTCH.

You mean there was a time that could be considered pre-FUTCH?

Is it of use to anybody? Can you sell it?

Can you catch the FUTCH? These days you can never be too careful who you shake hands with. I didn't realise it was so intense - dangerous.

Wrong again. FUTCH is behavioural and not yet a medical condition. Whole populations could be infected by chronic FUTCH but it is too soon to say. As a virus, it could take over the leadership of the free world and cause a breakdown of the social will. We might forget who we are and where we are going. It could result in a breakdown in the transmission of language."

None the wiser in Rose's explanation of the Futch phenomenon, all I know is these recordings from June of last year are a worthwhile investment of the listener's time. Deriving from the German slang, "futsch" denotes someone who is gone, spoiled or simply fucked up. On first inspection, we grapple with the trombone-violin duo shifts presented by Bauer and Rose. As the shifts between the hearty trombone and the pinnacle and pointillistic violin squeaks escalate, the two are joined by the glitchy analogue synth played by Thomas Lehn. As the track moves on, the violin soundscapes are replaced by even more hearty trombone mutations that are played in tandem with synth babblings. Near the end of the first 25 minute track, Rose is found plucking the strings lightly, while Lehn's synth work is slowed down, which is when Rose enters the picture with electronics scrapes. Lehn seems to act like a glue between the polar opposites of the trombone and the violin worlds. There's much common-ground evident in all three player's work. Their interaction is flawlessly realized and immensely well played. I find this surprising considering this is a relatively young ensemble. As the disc comes to an end, I'm already a convert. Jazz, improvised music or simply new music - "Futch" rules.


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Artist Biographies:

"Johannes "Hannes" Bauer (22 July 1954 - 6 May 2016) was a German trombonist of improvised music and free jazz. He was the brother of the trombonist Conny Bauer.

He was born in Halle. From 1979 onwards, he worked as a freelance musician in Berlin.

Among others, he worked with the following groups: the Manfred Schulze Wind Quintet, Doppelmoppel (with Conny Bauer, Uwe Kropinski, and Helmut "Joe" Sachse), Slawterhaus (with Jon Rose, Peter Hollinger, and Dietmar Diesner), Futch (with Thomas Lehn and Jon Rose), Ken Vandermark Territory Band, and the Peter Brötzmann Tentet.

Bauer died on 6 May 2016 at the age of 61."

-Wikipedia (

"Thomas Lehn was Born in Fröndenberg (Germany) in 1958. Since the early 1980s Thomas Lehn has been working as a author and performer of contemporary music. After studying recording engineering - piano with Prof. Wilfried Kassebaum - at the Music Academy of Detmold in Germany, studies at the Music Academy of Cologne with Peter Degenhardt and Prof. Klaus Oldemeyer (classical piano) and with Frank Wunsch and Francis Coppieters (jazz piano) completed his academical education. In the 80ies he took part on courses of Studio for pianistic interpretation held by Prof. Jürgen Uhde.

As an interpreting pianist he has been playing concerts since 1982 - performing both contemporary new music including numerous first performances and traditional composed music of the classical and romantical period. In 1989 he initiated the chamber ensemble Trio Dario and four years later the Mengano Quartett, performing compositions of the contemporary avant-garde, in particular numerous first performances of comissioned works. Developed parallel to his work as a pianist, since the early 1990s his major and widely reknown work has been performing and producing live-electronic music. Rooted in the experience of a wide spectrum of musical fields based on his background as an interpreting and improvising pianist in classical-, contemporary and jazz-music and having been involved in numerous other projects like music theatre, dance, multi-media, studio pre-/post-production etc., he has been developing an individual 'language' of electronic music.

The electronic equipment he uses consists of analogue synthesizers of the late 1960s, and since 1994 in particular the EMS Synthi A. Besides the substantial sound qualities of its analogue synthesis, the facilities of this modular instrument - for example to modify electronic sounds very directly as well as to combine and to control several parameters of the sound synthesis at the same time - allows him to spontaneously act in close contact with the various structural degrees of the musical process.

In 2000 his solo album Feldstärken had been released on German label Random Acoustics. Up today, his discography enclosures about 80 CD publications. Numerous appearances at major international festivals of contemporary musics and concerts tours in Australia, Austria, Belgium, Canada, Croatia, Czech Republic, Denmark, England, Finland, France, Germany, Hungaria, Ireland, Israel, Italy, Japan, Lebanon, The Netherlands, New Zealand, Norway, Poland, Portugal, Serbia, Scotland, Slovakia, Slovenia, Spain, Sweden, Switzerland and the USA give evidence of his international profile and recognition.

He has been involved in projects promoted and/or supported by the Goethe-Institutes in Belgrade, Boston, Bratislava, Budapest, Chicago, Copenhagen, Glasgow, Lille, Lissabon, London, Manchester, Marseille, Milano, Montreal, Palermo, Rome, San Francisco, Tel Aviv, Tokyo, Toronto, Warsaw, Wellington and York. His musical activities enclosure long term and newer ensemble collaborations as well as involvements in numerous specific single projects. Long term collaborations are ensembles like KONK PACK, TOOT, THERMAL, FUTCH, MIMEO, SPEAK EASY, 6IX, VARIO-34, as well as the duo works with Marcus Schmickler, Tiziana Bertoncini, Gerry Hemingway, Paul Lovens, Frédéric Blondy Urs Leimgruber and John Butcher. More recently formed ensembles are the duos with Benoît Moreau and with the video artist Kjell Bjørgeengen, trio formations with John Butcher involving pianists John Tilbury and Matthew Shipp.

Further he is pianist and founding member of the ensemble]h[iatus, an ensemble for interpretation and improvisation of contemporary music, whichs members are all experienced interpreters and improvisers. The ensemble compiles concert programs integrating/alternating notated and real-time-created contemporary music. It has been first-performing commissioned works by Vinko Globokar, Peter Jakober, Jennifer Walshe, Anthony Pateras besides performing compositions of the contemporary repertoire. Besides performing his own electronic music, in the recent years Thomas Lehn became more active as a synthesizer interpreter of electronic compositions. The realisation of Boguslav Schaeffer's Electronic Symphony - live performed in 2010 and 2011 - has been documented on the CD PRES Scores on polish label Bolt/Monotype. In 2012 he world premierred OCCAM VI for synthesizer solo by Éliane Radigue at Berghain Berlin during festival Faithful! and - together with KlangForum Wien - dort for synthesizer and 15 piece ensemble by Austrian composer Peter Jakober at musikprotokoll Graz and at Konzerthaus Vienna."

-Thomas Lehn Website (

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