Fifty Fifty: A Wild Ride Through Free Jazz Chaos
Alright, let’s get one thing straight—this album is not for everyone. If you’re into smooth jazz or predictable melodies, Takase and Mahall’s Fifty Fifty might just make your brain itch in the best possible way. Released in 2019 under Trouble In The East (Germany), this record dives headfirst into free improvisation with all the chaos of a toddler let loose in an art gallery. It’s messy, it’s bold, and honestly? That’s what makes it unforgettable.
First off, props to Rudi Mahall on clarinet and bass clarinet—he sounds like he’s having the time of his life while simultaneously questioning every life choice that led him here. And then there’s Aki Takase, who plays piano, toy piano, AND organ like she owns them outright. She doesn’t just compose half the tracks; she owns them. You can tell these two are vibing hard throughout the whole project. They didn’t come to play—they came to experiment, explode, and maybe scare a few neighbors along the way.
Now, if I had to pick standout tracks, I’d go with “Ein Loch Ist Im Eimer” and “Rest Area.” Why? Because they stick in my head like gum on a hot sidewalk.
“Ein Loch Ist Im Eimer” starts out kinda quirky, almost playful, but don’t be fooled—it quickly spirals into something darker and weirder. Like, imagine someone telling jokes at a funeral but secretly meaning every word. The interplay between Mahall’s clarinet squeaks and Takase’s unpredictable keys feels like eavesdropping on a conversation between two old friends who both love sarcasm and existential dread. By the end, you’re not sure whether to laugh or cry, which is exactly how free improvisation should feel.
Then there’s “Rest Area,” which hits different. This track slows things down, giving you space to breathe—or panic, depending on your mood. There’s this eerie calmness about it, like walking through an abandoned gas station late at night. Takase’s use of the toy piano adds this childlike innocence that clashes beautifully with the underlying tension. It’s haunting yet oddly comforting, like finding a forgotten candy bar in your coat pocket during a snowstorm.
The rest of the album keeps up the same energy—wildly creative, unapologetically raw, and sometimes plain bonkers. Tracks like “Foggy Valley” and “Energy With One Hand” showcase their knack for turning noise into narrative, even when you’re not quite sure what the story is. Is it about heartbreak? Alien invasions? Grocery shopping? Who knows! But somehow, it works.
One last shoutout goes to Karl Mahall (design/photography) and Katja Mahall (cover art). Their work gives the album a visual edge as sharp as its sound—a perfect package deal. Christian Betz deserves credit too for recording, mixing, and mastering this beast without losing any of its wild spirit.
So yeah, Fifty Fifty isn’t background music—it demands attention. Listening to it feels like stepping into a dream where rules don’t apply, and everything is slightly off-kilter. Honestly, after spinning this album a few times, I started wondering if Takase and Mahall were trying to send us secret messages through their instruments. Or maybe they just wanted to have fun making weird noises together. Either way, mission accomplished.
Final thought? This album reminds me of that one friend who always shows up overdressed to casual hangouts but somehow pulls it off anyway. Weird, wonderful, and totally worth experiencing.
