{"id":2335,"date":"2015-08-03T10:35:56","date_gmt":"2015-08-03T10:35:56","guid":{"rendered":"http:\/\/carolrobinson.net\/?page_id=2335"},"modified":"2015-08-17T12:35:03","modified_gmt":"2015-08-17T12:35:03","slug":"herbert","status":"publish","type":"page","link":"http:\/\/carolrobinson.net\/fr\/recordings\/herbert\/","title":{"rendered":"Herbert"},"content":{"rendered":"

[vc_row][vc_column width=\u00a0\u00bb1\/2″][vc_single_image image=\u00a0\u00bb1406″ img_size=\u00a0\u00bbfull\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

B-A-C-H a Chromatic Universe<\/strong><\/p>\n

PETER HERBERT<\/p>\n

Ingrid Jensen \u2013 trompette
\nCarol Robinson \u2013 clarinette basse
\nMarc Copland \u2013 piano
\nPeter Herbert \u2013 contrebasse
\nKenny Wollesen \u2013 batterie<\/p>\n

11 titres 63:31<\/p>\n

btl013\/EFA10183-2 (2000)<\/p>\n

BETWEEN THE LINES –\u00a0www.azizamusic.com<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Presse<\/strong><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Glenn Astarita<\/a>
\nAll About Jazz<\/strong>
\nMai 2001[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Konrad heidkamp<\/a>
\nDie Zeit, nr. 52<\/strong>
\n19 d\u00e9cembre 2001[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Franck Bongers<\/a>
\nJazzdimensions<\/strong>
\n9 septembre[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Glenn Astarita\u00a0<\/b>
\nAll About Jazz
\nMai 2001<\/p>\n

With B-A-C-H: A Chromatic Universe, Austrian bass maestro Peter Herbert, serenades Johann Sebastian Bach while basing his schema upon the four-note-motive of the letters B-A-C-H and the chromatic transpositions. Basically, Herbert\u2019s novel intentions allude to melding elements of classicism with softly rendered rhythmic structures and the band\u2019s modern jazz style interplay as the leader penned all but three of these works.<\/p>\n

Herbert\u2019s employment of semitones and non harmonic tones within daintily performed motifs presents a curious proposition. However on the opener, Fuga pianist Marc Copeland\u2019s wonderfully articulated phraseology and often magical thematic developments offer some respite from a nondescript theme brimming with extended note choruses by trumpeter\/flugelhornist Ingrid Jensen and bass clarinetist Carol Robinson. The piece titled, Stauber features an underlying Afro-Cuban pulse amid a few diversions and sullen overtones, whereas Herbert, Jensen, Copeland and Robinson perform brief solo interludes on their respective works, B-A-C-H bass, B-A-C-H trumpet, B-A-C-H piano and B-A-C-H bass-clarinet.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Konrad Heidkamp\u00a0<\/strong>
\nDie Zeit nr. 52
\n19 d\u00e9cembre 2001<\/p>\n

Und dann beginnt das Weitertasten aufs Neue, wird man den Namen Marc Copland auf einer anderen aufregenden CD lesen, die ebenso die K\u00fchle des Herzens mit der W\u00e4rme des Verstandes verbindet: B-A-C-H A Chromatic Universe. Mit Peter Herbert (notieren!) entdeckt man einen gro\u00dfen Bassisten aus \u00d6sterreich, der in New York lebt und manchmal bei Franz Koglmanns Mono Blue Quartet zu h\u00f6ren war (between the lines 013 Vertrieb EFA: 10183). Die Trompeterin Ingrid Jensen (notieren!) spielt in diesen Tonr\u00e4umen, die Bassklarinettistin Carol Robinson (notieren!), die endlose Suche der Unvern\u00fcnftigen geht weiter.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Franck Bongers\u00a0<\/strong>
\nJazzdimensions
\n9 Septembre 2001<\/p>\n

Trotz des verleitenden Titels haben wir es weder mit einer ‘Klassik meets Jazz’-Variante, noch mit einem versp\u00e4teten Ableger in der Tradition von Walter Carlos Play Bach zu tun. Vielmehr versucht sich das Quintett um den Bassisten Peter Herbert an einer Art von Neudefinition des Jazz – weg vom Blues, kompositorisch und vom Klangmaterial her basierend auf beinahe rein europ\u00e4ischen Wurzeln. Peter Herbert – B-A-C-H, A Chromatic Universe Der Ansatz ist auch eher ein kammermusikalischer als der eines Jazzquintetts. Schon das Einstiegsst\u00fcck Fuga beginnt mit leisen choralartigen Bl\u00e4sers\u00e4tzen, der anfangs gestrichene Bass weicht auf halber Strecke einem swingenden walking Bass – ein sehns\u00fcchtig perlendes Klavier stellt sich ins Zentrum. Auch bei Hausmann dominieren flirrende Klaviertriller und -l\u00e4ufe das mehrfach wiederkehrende Thema, alles wird zusammengehalten durch ein treibendes Ridebecken vor einem tupfend arbeitenden Bass. Stauber dagegen setzt d\u00fcster ein, mit leise pochenden Klavierdissonanzen, tickender Percussion und quietschenden gestrichenen Becken. Uber diese, mit uhr-\u00e4hnlicher Regelm\u00e4\u00dfigkeit ablaufende, unheilvoll klingende Klangkulisse baut sich mit verk\u00fcndenden Klarinetten und gestopften Trompeten eine Krimiathmosph\u00e4re auf, die sich zu rifforientierten Fusionkl\u00e4ngen steigert. Die im Titel buchstabierte, und in den St\u00fccken verarbeitete, Tonfolge ‘B-A-C-H’ erscheint als Anspielung auf den sich schlie\u00dfenden Kreis – alle Kompositionen, die wir hier finden, laufen ‘in sich selbst zur\u00fcck’, enden mit dem eigenen Anfang. Blueseinfl\u00fcsse in der Tonalit\u00e4t zeigt dieser Jazz keine, dagegen Adaptionen klassischer Formen und Kompositionsmethoden – hinter der anderen Bedeutung von ‘B-A-C-H’ steht schlie\u00dflich auch ‘Johann Sebastian’. Die CD stellt in der Tat ein eigenes Universum von 63 Minuten L\u00e4nge dar, in das einzutauchen sich lohnt. Erw\u00e4hnenswert auch das eigenwillige Coverkonzept, das vollst\u00e4ndig auf Kunststoffe verzichtet, ohne dabei in irgendeiner Form billig zu wirken.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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