Snijbloemen
| Snijbloemen | ||||
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| Studio album by Theo Jörgensmann | ||||
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Publication |
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| Label (s) | HatOLOGY | |||
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Format (s) |
CD |
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Title (number) |
9 |
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running time |
53:53 |
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| occupation | ||||
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Studio (s) |
Vagnsson Studio, Hanover |
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Snijbloemen (cut flowers) is a jazz album by the Theo Jörgensmann Quartet , which was recorded on January 19 and 20 and April 14, 1999 in Hanover and released in 2000 by HatHut Records .
The album
After the debut album Ta Eko Mo , which was recorded in 1997 for the ZOO label , Snijbloemen was Theo Jörgensmann's second release, which he recorded with his new quartet consisting of vibraphonist Christopher Dell , bassist Christian Ramond and drummer Klaus Kugel .
Theo Jörgensmann is one of the leading European clarinetists, both in modern jazz and in the border areas between jazz and new music. Together with others he founded the renaissance of the clarinet in modern improvised music. In the liner notes of the album, he said in an interview with Peter Niklas Wilson :
“I am convinced that improvised music is the most modern kind of music, as it has led to a completely new type, the integral musician who is also a conductor, composer, Is an instrumentalist. An improviser has to take care of everything himself, from production to marketing, he thinks in a social context when he plays with others, he has to be able to formulate common goals and take responsibility, but also when necessary to resign .... "
Jörgensmann realizes this claim with his quartet, which with the tonal combination of clarinet and vibraphone is close to the chamber music sound of cool jazz and "unfolds the whole panorama of free and structured playing" (Wilson). “Kospi” is a complex, ten-minute mini-suite containing several themes, while Christoph's Dell composition “Dark Room” (of which the album contains two versions) consists of only three diatonic melody notes and is accompanied by a vibraphone. “Klaipeda” by Klaus Kugel is based on a simple ostinato figure ; Dell's “Wiesengrund”, which appropriately takes up Theodor W. Adorno's irritable relationship to jazz, contains Far Eastern connotations with its two thematic complexes. The short "No. 59 “is a collective improvisation of the four musicians.
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Reception of the album
Tilmann Urbach wrote in the magazine Fono Forum in May 2000: “Clarinetists are often misunderstood musical lightweights, their agility tends towards playfulness, ultimately towards mannerism. But your instrument is wonderfully suited for exploring the musical tent of heaven. Such erratic research work in high and highest altitudes is Joergensmann's program; the discovery of ease. But the players are by no means just seconds: just how vibraphonist Dell plays around the clarinet, harmonizes, how drummer Kugel spreads his cymbal arsenal (like a composed pleasure garden of fine and finest nuances) - that is more than astonishing. And Christian Ramond adds subtleties that have been cut and plucked to make it a joy. The band maintains a clever balance between unleashed free play and precise compositional specifications. Theo Joergensmann called his album Snijbloemen ; Snijbloemen , a descriptive title: baseless, fleeting, ephemeral, but also magnificently blooming - just like the music. What more do you want."
In his review ( jazz plus bouquet of cut flowers ) in the Zürcher Weltwoche, Peter Ruedi discusses Theo Jörgensmann's musical origins from bebop , cannonball adderley and the early coltrane . “That means that his playing has 'soul', no matter how unusual and sophisticated the chamber music equilibrism is, and it has a tone with a high specific weight. A heart always beats behind the abstract games, which are sometimes carried out far. That makes the collective art of this quartet (...) one of the most exciting music I've come across in recent years. For Jörgensmann, »soul« does not mean the removal of the mind, but the floating balance between control and feeling. He's someone who basically thinks about himself and therefore also about his music. "It took me a long time," he tells Wilson, "to get rid of the excess weight of my own taste." "
The Downbeat magazine awarded Snijbloemen in its July 2000 edition four stars. The album received the second highest rating in the Penguin Guide to Jazz ; the authors particularly emphasize the extraordinary solos by Christopher Dell in “Kospi” and the title “Wiesengrund”, in which “an eventful and dense game develops.” The album is the “welcome return of a unique voice”.
The titles
- Theo Jörgensmann Quartet - Snijbloemen (hatOLOGY 539 / Hat Hut Records)
- Kospi (Jörgensmann) 10:31
- Snijbloemen (Jörgensmann) 5:14
- Klaipeda (ball) 4:47
- Dark Room (Dell) 6:31
- Wiesengrund (Dell) 6:58
- La Fortuna (Ramond / Jörgensmann) 2:40
- Snijbloemen (Take 2) (Jörgensmann) 6:07
- No. 59 (Jörgensmann / Dell / Ramond / Kugel) 3:06
- Dark Room (Take 2) (Dell) 7:59
swell
- Richard Cook , Brian Morton : The Penguin Guide to Jazz on CD . 6th edition. Penguin, London 2002, ISBN 0-14-051521-6 .
- Peter Niklas Wilson: liner notes on Snijbloemen
Web links
Notes / individual evidence
- ^ Peter Niklas Wilson: liner notes on Snijbloemen .
- ↑ also happens to be the abbreviation for the Korean stock market index. See Wilson.
- ↑ The information about the music on the album is based on Peter Niklas Wilson, Liner Notes.
- ↑ Tilmann Urbach in Fono Forum May 2000. Fono Forum rated the album with five stars for interpretation and four stars for sound.
- ↑ Weltwoche (CH) edition 2000-13 of March 30, 2000, p. 53
- ↑ Cook & Morton, Penguin Guide to Jazz, 6th Edition, 2002, p. 820.