Christian Elsässer Quintett, The Move Review

Christian Elsässer’s The Move: Motion Earned, Not Forced

By Nolan DeBuke

On The Move, Christian Elsässer steps into a quintet setting that values closeness and listening. Joined by Niels Klein on saxophone, Tim Collins on vibraphone, Henning Sieverts on bass, and Fabian Arends on drums, Elsässer leads an ensemble that moves with confidence and shared intent. Recorded at Studio 2 of Bayerischer Rundfunk in Munich, the album unfolds as a chamber-sized contemporary jazz statement of lyrical and rhythm-aware compositions that are shaped by subtle shifts in energy rather than dramatic turns. These are musicians who understand pacing, allowing the music to reveal itself gradually and collectively.

“Morgentau” announces itself quietly with Elsässer beginning with atmosphere, creating mysterious, developing sonorities led by piano touch. When Henning Sieverts’ bass, Fabian Arends’ drums, Tim Collins’ vibraphone, and Niels Klein’s saxophone enter, they don’t interrupt the space; they settle into it. The main theme is lyrical and immediately memorable, unfolding like a thought being explored aloud by the ensemble. Klein’s solo uses notes to create a sound, tones stretching into cries, edges fraying just enough to humanize the line. The ensemble builds patiently toward a collective peak, then eases back into the original mood without forcing resolution.

“Circles & Corners” shifts the album into an up-tempo contemporary swing feel, driven by pulse and shared ensemble momentum. Vibraphone and saxophone interlock during the tutti sections, orchestrating motion rather than filling space. Elsässer’s piano playing is rhythmic and colorful, balancing percussive bite with harmonic openness. His solo reveals wide rhythmic diversity brought to life by octave lines unfolding into expanded chords, agile single-note phrases slipping between registers. Just as the energy crests, the ensemble collectively relaxes, opening space for Collins’ vibraphone solo. The transition feels organic, giving the music a sense of adventure and natural breath.

With “Kanon,” Sieverts’ bass opens alone, establishing the pulse and intention before Collins’ vibraphone introduces the melody. The composition flows through multiple feels, allowing the bass to assume a melodic role in various sections. Elsässer’s accompaniment remains supportive throughout, his voice-leading attentive and fluid, reinforcing the ensemble’s shared language rather than asserting dominance. The piece unfolds with balance and patience, emphasizing conversation.

“Birds” invites maximal exploration as the ensemble plays freely with time, rubato, and elastic phrasing with a pulse. The chemistry is immediately audible, with each musician taking turns guiding the conversation. Midway through, an ascending piano figure signals a shift into a nu-jazz–inflected melody and groove emerging organically from the texture. The result feels less like a formal transition than a collective decision, reinforcing the album’s conversation-based dynamic.

“Lisa & Lilli” brings an interactive theme of counterpoint. The two melodies dancing in counterpoint over a groove that balances swing and playfulness. It’s fun without being casual, intricate without losing joy. The ensemble plays with spirit and a focus on keeping counterpoint clear and a part of the core sound of the performance.

The album closes with “Wiegenlied,” a solo piano lullaby that distills Elsässer’s sensibility into its purest form. The pacing is patient, expressive without excess. The melody rings clearly, triadic motion colored just enough to evoke a European jazz sensibility filtered through American folk-jazz phrasing. The performance is intimate, grounded, and deeply human.

The Move is an ensemble aligning a collaborative ambition on motion, ensemble trust, shared pulse, and music that knows when to lean forward and when to rest. In this environment, the album finds its strength, inviting the listener not to analyze the journey, but to move along with it.