Shannon Barnett Quartet

Hype

Price: € 14.95
Format: CD
Label: Double Moon Records
UPC: 0608917119121
Catnr: DMCHR 71191
Release date: 08 September 2017
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Label
Double Moon Records
UPC
0608917119121
Catalogue number
DMCHR 71191
Release date
08 September 2017

"A warmly recommended album, a quartet we would like to discover on our stages."

JazzAround, 21-9-2017
Album
Artist(s)
Composer(s)
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About the album

Since moving to Germany, Shannon Barnett has become very active in the local scene. Her quartet, featuring Stefan Karl Schmid (tenor saxophone), David Helm (bass) and Fabian Arends (drums) was nominated as a seim-finalist in the 2017 Neuer Deutscher Jazzpreis. They have performed widely in Germany, including at the Acht Brücken and Winterjazz Festivals, the Peng Festival and IG Jazz in Mannheim. In 2016, they toured Australia, performing at the Wangaratta Festival of Jazz and Sydney Women's Jazz Festival.
This is the quartet's debut album!


Shannon Barnett Quartet - Hype

Hype:
Beginning with just a few intriguing tones, Schmid and Barnett introduce us to the album with a perfectly crafted duo improvisation, leading eventually to an energetic odd-time groove that introduces the wonderfully synchronised and active rhythm section team of Helm and Arends. Barnett then enters with a fiery rhythmic solo, a trademark of her gutsy approach to the trombone. After the band takes a minute to calm down, we are slowly introduced to Schmidʼs superb tenor playing, and broad range as an improviser, before the band rises again to finish the tune with an explosive, tight finale.

Lembing:
The influences of harmolodic improvisers such as Ornette Coleman and Don Cherry are evident in this composition. The three melodic sections share similar beginnings, but drift off into other territories, allowing the soloist to explore different environments, finally finishing with a solemn Latin-music-inspired resolution.

People Donʼt Listen to Music Anymore:
As with many of the melodies from her compositions, this tune is rhythmically based on the title. It was inspired by the overwhelming amount of publicity and marketing one can find on the internet about various musical projects and how sometimes because of this, the essence of the music can be diluted. After a haunting ballad-like section, the piece morphs through a free improvisation and then takes a turn towards a melancholy chorale, before surprising the listener with what could best be described as a good old-fashioned hoe down, featuring Barnettʼs blazing trombone on the top.

Red-Bellied Stickleback:
Composed during Barnettʼs short stay in Banff, Canada, this piece is inspired by a desire to break away from the traditional roles in the quartet. The trombone begins with a guitar- like riff, that underpins the polyphonic texture that follows. The Red-Bellied Stickleback itself is a type of fish with interesting behavioural features.

Speaking in Tongues
Again based on a short rhythmic pattern, the middle section of this piece was composed first, borrowing from an episode of the animated television series ʻFamily Guyʼ, in which the main character pretends to be able to speak Italian. After the complex introduction, the soloists are allowed some freedom in a swinging, sometimes bluesy open section, a window into Barnettʼs previous experiences playing swing and early jazz.

PG3
Composed in honour of the Australian pianist Paul Grabowksky, PG3 is a soulful 6/8 ballad, that displays Schmid and Barnettʼs compelling interactions and conversations, as well as their stunning ability to deliver unison passages as if they were only one instrument.

Ok Compupid
Inspired by the Australian musician Thai Matus, Ok Compupid weaves and jumps through various time signatures, before landing on a rapid, pulsating groove that showcases Schmidʼs technical prowess and ability to develop an interesting story from only a simple starting point.

Chasing the Second
Again displaying Barnettʼs love for various styles outside of the jazz realm, this piece features a reggae section (originally inspired by the music of the Art Ensemble of Chicago), over which her lazy trombone hangs, almost jokingly commenting over the subtle yet hypnotising support from Helm and Arends.

Between the solo sections we are treated to fast-paced intricate unison sections, deftly delivered by the entire quartet.

The Spirit is Willing, but the Flesh is Weak
This composition begins with a lilting unison melody from Schmid and Barnett, accompanied gently by Arendʼs delicate cymbals and Helmʼs warm bass sound. The bassist leads the quartet out of the melodic section and into an expansive, tranquil bass solo, before combining with Arends to construct a burning fast swing foundation, which Schmid and Barnett contrast with a transcendent pentatonic unison.
The piece is reiminiscent of and inspired by the late works of John Coltrane and other jazz musicians who sought a spiritual connection through their music.

Spielt eine Frau anders Posaune? Womöglich empathischer, lyrischer, versöhnlicher? In der Tat handelt es sich bei Shannon Barnett und ihrem „Knochen“ um eine eher seltene Variante der Kombination Mensch-Instrument. Man sollte jedoch nicht den Fehler begehen, die Australierin auf eine bestimmte Ausdruckspalette zu begrenzen. Schließlich verfügt sie über eine mehr als außergewöhnliche jazzmusikalische Sprachbegabung, die ihr viele Türen öffnet – in der Vergangenheit wie in der Zukunft.

Ein Multitalent, ein Chamäleon, eine wandlungsfähige Künstlerin, aber auch jemand, der nicht die Erwartungen des klassischen Mainstreams bedient: Es sind keinesfalls die typischen weibliche Tugenden, die Shannon Barnett prägen und sie zu einer markanten Figur im zeitgenössischen Jazz erheben. 1982 in der australischen Kleinstadt Traralgon geboren, wählte man sie nach ihrem Musikstudium in Melbourne und New York in ihrem Heimatland zum „Young Australian Jazz Artist Of The Year“. Dass die heute 35-Jährige danach mit so unterschiedlichen Kollegen wie Kurt Rosenwinkel, Dee Dee Bridgewater, Charlie Haden, Darcy James Argue, Cyrille Aimée, Cecile McLorin Salvant, Jon Faddis und Sinead O’Connor kollaborierte und sich für ein Weltmusikprojekt in Papua-Neuguinea engagierte, spricht im positiven Sinn für ihre Unberechenbarkeit. Inzwischen lebt Shannon Barnett in Köln, wo sie als festes Mitglied der WDR Big Band arbeitet.

Dass die Posaunistin auch in der deutschen Jazzszene schnell Fuß fassen konnte, versteht sich angesichts ihrer außergewöhnlichen Fähigkeiten beinahe von selbst. Nach Aufnahmen mit der Sängerin Tamara Lukasheva oder dem Jan Schreiner Large Ensemble kommt nun „Hype“, das Debütalbum ihres Quartetts um Karl Schmid (Tenorsaxofon), David Helm (Bass) und Fabian Arends (Drums), mit dem sie 2017 das Halbfinale des Neuen Deutschen Jazzpreises erreichte. Es verblüfft durch eine stupende Klangfarbenpracht und eine Leaderin, die in ihrem Spiel alles vereint, die ihre herausragende, geschmeidige Technik mit einer breiten Palette von Klangfarben verbindet.

Dies beginnt schon im Titelstück, das Shannon Barnett und Karl Schmid mit einer aufregenden Duo-Improvisation in einen kraftvollen, ungeraden Groove hineingleiten lassen. Bei „Lembing“ stehen Ornette Coleman und Don Cherry, die Urväter der Harmolodic, Pate. „People Donʼt Listen To Music Anymore“ darf nicht unbedingt wörtlich genommen werden, soll die sintflutartige Schwemme von Musik hinterfragen. Das Stück beginnt fast wie ein klassisches Ballett, fädelt in eine choralartige Fuge ein, um dann zur Überraschung in einem lebhaften, kinderliedartigen Finale aufzugehen. In „Red-Bellied Stickleback“ klingt Barnetts Posaune, als würde sie einen Gitarrenriff intonieren, während sie sich beim heftig swingenden und bluesenden „Speaking In Tongues“ von der amerikanischen Zeichentrickserie „Family Guy“ inspirieren ließ. Überhaupt Patenschaften: Die schwermütige Ballade „PG3“ ist dem Pianisten Paul Grabowsky gewidmet, das vertrackt groovende und lebhafte „Ok Compudid“ dem australischen Musiker Thai Matus, „Chasing The Second“ der Reggae-Seite des Art Ensemble Of Chicago und das fulminante „The Spirit Is Willing, But The Flesh Is Weak“ dem Spätwerk John Coltranes sowie all den anderen Musikern, die ihr künstlerisches Schaffen mit spirituellen Werten verknüpfen.

Virtuos tanzt Shannon Barnett zwischen den Extremen. „Ich liebe den frühen Jazz wegen seiner Energie genauso wie die Polyphonie der Hörner. Ich stehe auf den erzählerischen Gestus der alten Standards und mag es, mit Musikern wie Karl, David und Fabian in musikalische Abenteuer einzutauchen. Ganz gleich, welche Plattform einem die Möglichkeit gibt, seine eigene Persönlichkeit zu entwickeln und zu glänzen: Ich bin dabei

Artist(s)

Shannon Barnett is a versatile Australian trombonist, vocalist and composer, and graduate of the Victorian College of the Arts. In 2007, she was named Young Australian Jazz Artist of the Year at the Australian Jazz Bell Awards.

Barnett has become an important contributor to the Australian music scene, performing in ensembles including Vada, The Bamboos, The Vampires, and as a guest with the Andrea Keller Quartet, on the 2004 ABC Jazz release Angels and Rascals. Barnett has also appeared with the Australian Art Orchestra, Barney McAll's Mother of Dreams and Secrets feat. Kurt Rosenwinkel, Charlie Haden, Flap! and the Paul Grabowsky Sextet, and from 2009-2010, she worked as a multi-instrumentalist and composer with the contemporary circus group Circus Oz.

In 2010, Barnett released her debut album as a leader, entitled 'Country', on the Which Way Music label. The recording also features Christopher Hale (acoustic bass guitar), Nashua Lee (electric guitar) and Ben Hendry (drums), and was nominated for Best Jazz Album in the 2010 AIR Awards and Best Jazz Recording in the 2011 ABC Limelight Awards. After attending Dave Douglas' ‘Workshop in Jazz and Creative Music’ in Banff, Canada in 2010, Barnett was inspired to relocate to New York City, where she completed a Master of Music degree. There she performed with the likes of Darcy James Argue's Secret Society, Pedro Giraudo, Cyrille Aimée, Cecile McLorin Salvant, the Jon Faddis Jazz Orchestra of New York and was a regular member of the Birdland Big Band. In early 2014, she moved to Cologne, Germany, to take up a position with the WDR Big Band.

Composer(s)

Press

A warmly recommended album, a quartet we would like to discover on our stages.
JazzAround, 21-9-2017

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