Jazz |

From the very first notes of this album, one is transported by celestial forces, as if borne aloft by angels. There is something in Andreas Schaerer’s voice that recalls, in certain respects, the ethereal timbre of Alfred Deller. Yet here we find ourselves in a realm where jazz and folk intertwine with the echoes of world music, carried by an ensemble of musicians that could only exist in dreams:
- Andreas Schaerer – voice, mouth percussion, bass synth
- Luciano Biondini – accordion
- Kalle Kalima – electric guitar
- Lucas Niggli – drums
No larger a group is needed, for the human mind can scarcely absorb, let alone analyze, the sheer artistic magnitude of such performers.
A native of Switzerland, Schaerer undoubtedly draws much of his singularity from his homeland. To compare him to any other contemporary jazz musician would be a mistake, for he is utterly unique—a paragon of artistic sensitivity pushed to its utmost limits. This is not merely a question of technique; rather, a sonic tableau is meticulously crafted, and the musicians who accompany him share in this profound sensibility. The arrangements themselves bear the fragrance of freedom, a testament to the deep kinship between these artists and their shared devotion to a common vision.
In Anthem for No Man’s Land, Schaerer ascends to yet another level, demonstrating that his ambitions reach far beyond the mere showcasing of his virtuosic gifts. Deeply committed to the collective ethos of his quartet, he explains:
“I have consciously studied how to use my voice to accompany the music, to complement an instrument. It is far easier to find harmonic patterns than to ensure that the voice does not seek to dominate. If one wishes to avoid assuming the traditional role of a singer, then one must shape the music with great thoughtfulness.”
If we admire the cohesion of this ensemble, it is because it has been forged over time. This is how true artists grow—through years of shared experience. This quartet unites strong, contrasting musical personalities who, through the passage of time, have come to know each other intimately.
“The group has existed since 2016,” Schaerer recounts. “Originally, it was just a duo with Lucas Niggli, which had already been performing together. We did not yet know whether we wanted to pursue a more electronic or acoustic direction. The idea was to experiment with two different trios: one with Kalle and another with Luciano. A certain chemistry emerged, and from this alchemy, the quartet was born. Beyond that, we also play together in other formations—duos in various configurations.”
This time, the quartet leans toward an acoustic approach—perhaps the setting best suited to Schaerer’s voice, which deserves such a refined setting. When his voice melds as an instrument among instruments, it demands an extraordinary level of musical mastery. The opening lines of the album’s booklet illustrate this vision perfectly:
“This is our musical offering for an utopian and inclusive society, employing a new, free, imaginary language, untethered to any cultural origin or border.”
Schaerer accomplishes something truly remarkable here: without renouncing speech, he simultaneously transcends it. The words he sings may seem familiar, but the language itself is entirely invented. His goal is not to convey meaning in the conventional sense but to evoke associations, to summon atmospheres through sound. His mastery is such that an inattentive listener might believe they are hearing English, Spanish, Greek, or Italian—convinced that these words carry meaning. But in truth, they do not.
And yet, this is no mere exercise in playfulness, no whimsical experiment designed simply to amuse. There is a profound artistic intention at work.
And therein lies the essence of Art—with a capital “A”: a vision that inspires, that liberates the imagination and expands the mind. No further justification is needed to place this album among our Indispensables.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, February 4th 2025
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