Biography
Few ensembles can legitimately assert invention of a wholly distinctive sonic identity, though Lyn Leon accomplishes exactly that. Core members Matthias Eser, Stephan Diethelm, and Carolyn Leonhart compose mature pop that incorporates jazz elements, R&B accents, and rhythms drawn from multiple continents. Their singular approach rests on glass instruments devised by Eser and Diethelm. The BB-phone operates like a xylophone assembled from twenty bowls, sounded either with mallets or by rubbing wet fingertips across the surfaces, pitch altered through added water. The verrophone consists of an oversized glass bell of the kind once used to shield clocks from dust and receives tabla-style playing. Comparable to a vibraharp yet built entirely of glass, the glasröhrenspiel generates otherworldly timbres dense with deep overtones, sliding open notes, and delicate chiming arpeggios reminiscent of a muted glockenspiel.
Stephan Diethelm accompanied his family on extensive international travels during childhood, an experience that left Zimbabwe—then Rhodesia—most vividly imprinted; there, encounters with local hand percussion and mbira instilled what he describes as the drum virus. Formal studies covered classical drumming, marimba, vibes, and piano, after which a Santana concert ignited broader explorations into pop, jazz, Latin, and world music. Matthias Eser is the grandson of Swiss conductor and composer Erich Schmid. Long acquainted, Eser and Diethelm shared a percussion fascination that led them to establish the Swiss Percussion Group, dedicated to contemporary works featuring stones, glass, and clay. SPG released three CDs and solicited scores from living composers.
Diethelm later recounted an epiphany: “I was shopping for a gift for my mother in the Glasi Hergiswil glass factory. I’m in the habit of drumming on everything in sight and found some glass objects with an exceptional timbre.” He wrote to Glasi Hergiswil director Röbi Niederer requesting glass. Niederer responded with unusual generosity, forwarding a case of rare objects formerly belonging to his father. Assisted by Niederer, the Swiss Percussion Group tested these materials, enabling Diethelm and Eser to perfect their distinctive instruments—sculptural objects in their own right. Diethelm recalls, “We put together a program with percussion instruments of stones, glass, and clay. It worked so well, we thought it would be great to have a singer. Gil Goldstein, who wrote a piece for the Swiss Percussion Group, recommended Carolyn. She came for a weekend and it went so well, we decided to do a CD together.”
Primarily a jazz vocalist based in New York City, Carolyn Leonhart has toured worldwide as a member of Steely Dan. Several solo jazz albums have appeared in Japan; she has also performed with bassist Jay Leonhart’s ensembles and saxophonist Wayne Escoffery’s groups, collaborated with hip-hop collective the Real Live Show, and toured with electronic lounge act Wax Poetic. The Swiss percussionists valued her contributions so deeply that they named the band after her. Glass Songs, issued under the Swiss Percussion Group and Leonhart, presented Diethelm and Eser compositions; when permission for favorite poems could not be secured, Leonhart supplied original lyrics.
Audience response on the initial tour prompted a second recording, Glass Lounge. The trio adopted the more approachable name Lyn Leon and augmented the front line with electric bass, percussion, and keyboards. Diethelm observes, “On that first tour each time a glass broke, the music stopped. Eventually, we began to use easily replaceable glass instruments. The unusual combination of glass sounds played with percussion instruments and Fender Rhodes made fascinating rhythms from the very first beat.” Glass Lounge achieved success across Europe, securing invitations to tour with both Peter Gabriel and Al Jarreau. Lyn Leon released Private Pop in Europe in 2005 and in the United States in 2007.
Stephan Diethelm accompanied his family on extensive international travels during childhood, an experience that left Zimbabwe—then Rhodesia—most vividly imprinted; there, encounters with local hand percussion and mbira instilled what he describes as the drum virus. Formal studies covered classical drumming, marimba, vibes, and piano, after which a Santana concert ignited broader explorations into pop, jazz, Latin, and world music. Matthias Eser is the grandson of Swiss conductor and composer Erich Schmid. Long acquainted, Eser and Diethelm shared a percussion fascination that led them to establish the Swiss Percussion Group, dedicated to contemporary works featuring stones, glass, and clay. SPG released three CDs and solicited scores from living composers.
Diethelm later recounted an epiphany: “I was shopping for a gift for my mother in the Glasi Hergiswil glass factory. I’m in the habit of drumming on everything in sight and found some glass objects with an exceptional timbre.” He wrote to Glasi Hergiswil director Röbi Niederer requesting glass. Niederer responded with unusual generosity, forwarding a case of rare objects formerly belonging to his father. Assisted by Niederer, the Swiss Percussion Group tested these materials, enabling Diethelm and Eser to perfect their distinctive instruments—sculptural objects in their own right. Diethelm recalls, “We put together a program with percussion instruments of stones, glass, and clay. It worked so well, we thought it would be great to have a singer. Gil Goldstein, who wrote a piece for the Swiss Percussion Group, recommended Carolyn. She came for a weekend and it went so well, we decided to do a CD together.”
Primarily a jazz vocalist based in New York City, Carolyn Leonhart has toured worldwide as a member of Steely Dan. Several solo jazz albums have appeared in Japan; she has also performed with bassist Jay Leonhart’s ensembles and saxophonist Wayne Escoffery’s groups, collaborated with hip-hop collective the Real Live Show, and toured with electronic lounge act Wax Poetic. The Swiss percussionists valued her contributions so deeply that they named the band after her. Glass Songs, issued under the Swiss Percussion Group and Leonhart, presented Diethelm and Eser compositions; when permission for favorite poems could not be secured, Leonhart supplied original lyrics.
Audience response on the initial tour prompted a second recording, Glass Lounge. The trio adopted the more approachable name Lyn Leon and augmented the front line with electric bass, percussion, and keyboards. Diethelm observes, “On that first tour each time a glass broke, the music stopped. Eventually, we began to use easily replaceable glass instruments. The unusual combination of glass sounds played with percussion instruments and Fender Rhodes made fascinating rhythms from the very first beat.” Glass Lounge achieved success across Europe, securing invitations to tour with both Peter Gabriel and Al Jarreau. Lyn Leon released Private Pop in Europe in 2005 and in the United States in 2007.