A. Markus Stauss’ musical pedigree and affinities
Albert Ayler, John Coltrane, Pharao Sanders, Gato Barbieri, der junge Jan Garbarek (alle ts); Jimmy Lyons (as), Wolfgang Dauner (p), Günther Hampel (vib, bcl); Miles Davis, Frank Zappa, Jimi Hendrix; The Art Ensemble of Chicago, Doors, King Crimson, * Tony Williams, * Jack Bruce
B. Markus Stauss’ musical Concepts
Markus Stauss commented the basis of his musical writing and playing, as well the conceptuality of his playing concepts on May 13, 1997 in a discussion with this author (The recording and Stauss’ explicative graphs are kept in the archive).
I. The parameters of his music he organises as follows:
In this graph the horizontals and the verticals are to be understood as a two-shell spheres or concentric rings with their axes in different angles, able to rotate independently, being in movement or fixed. Stauss calls this model the “time and (re)production sphere”.
II. The constituting three colons of his music are:
A) Sound / tone colour of different quality and the related subjective perceptions
B) textures / patterns / stratum overlays (stratifications). They occur during:
a – composing
b – improvisation
c – their interaction
d – dissociation, produced by diverging playing instructions
C) Energies in different states of matter, changes of these states, the emergence of new energies just because of these changes