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Liquid Circle - Jazz Thing Next Generation Vol. 81

Hans Anselm Big Band

Liquid Circle - Jazz Thing Next Generation Vol. 81

Price: € 14.95
Format: CD
Label: Double Moon Records
UPC: 0608917136821
Catnr: DMCHR 71368
Release date: 10 January 2020
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Label
Double Moon Records
UPC
0608917136821
Catalogue number
DMCHR 71368
Release date
10 January 2020

"... after 72 minutes one is impressively filled with all the imaginations filled with a light hand..."

Jazzpodium 07 08 2020, 06-7-2020
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Artist(s)
Composer(s)
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About the album

Eighteen names appear on the cover, from those responsible Benedikt Schnitzler (guitar), Anna Wohlfahrt (piano), Arne Imig (bass) and Leon Griese (drums), who represent the core of the big band as a quartet, to Albrecht Ernst, Olga Amelchenko (both alto saxophone), Anna Tsombanis, Musina Ebobissé, Leonie Freudenberger, Marc Doffey (all tenor saxophone), Malte Mittrowann, Gabriel Rosenbach, Laurin Köller, Alexander Gibson (all trumpet), Jan Landowski, Sonja Beeh, Gregor Littke and Chris Lüers (all trombone). But one is missing: Hans Anselm. At a time when excessive egos are only so prevalent that everyone has to make themselves noticeable at all costs and is trying to get public attention, it is surprising that although a jazz orchestra explicitly starts under a certain name, the person does not seem to be actively participating in the musical process. Reminiscence of a deceased co-musician? A covert thank-you to a sponsor? Or a pseudonym?

Not of that at all. “Hans Anselm is our imaginary, somewhat crazy friend, who has accompanied the band from the start,” Benedikt Schnitzler revealed the secret. “He embodies a kind of collective consciousness that unites us when we stand together on the stage. Unfortunately, he can only be seen by the band, but he is always there.” A kind of good spirit that watches over the ensemble, gently nudges it in the right direction and always makes sure that every sound is in the right spot. Actually, each band would need someone like Hans Anselm, especially because of the excesses described above. Because when young musicians first come together as a small group in the big Berlin, they must automatically compete against an unmanageable mass of competitors, not to mention a CD that threatens to get lost in the vast sea of recordings. But Schnitzler, Wohlfahrt, Imig, Rosenbach and Griese wanted to combine their ideas and convert them into sonorous music, optimally with the variety of a sound machine such as a big band. They wanted to create a sound that is, above all, authentic and that unsettles traditional listening habits. From this vision, with which the ensemble reinvents itself again and again, something fabulously wonderful as the mentioned Hans Anselm emerged.

“We are fascinated by the compositional challenge, the energy and sound power that a big band can generate, the many possibilities with timbres, dynamics and moods, the sonic complexity and the confrontation with its own musical language,” guitarist Schnitzler stated describing the motivation of the 18 musicians. In addition, the pianist Anna Wohlfahrt and he as composers bear much more responsibility than in smaller bands, where the emphasis is often on improvisation. The Hans Anselm Big Band now enjoys a great reputation in the capital, not the least thanks to a studio and live album as well as a performance on radio RBB's culture program. In addition, the orchestra has been supported financially by the Berlin Senate Department for Culture and Europe since 2019. All members of the ensemble know each other either thanks to their joint studies, personal contacts, recommendations or previous collaborations. In addition to the musical factor, the human factor in particular is extremely important, so that the creative flow of ideas can function uninhibited, Schnitzler emphasized.

The Germany-wide breakthrough is now to be achieved with “Liquid Circle”, which is being released as the 81st CD in the long-lasting and successful “Jazz thing Next Generation” series. In seven suite-like pieces, a delicate sphere, blurred grooves, colored brass nuances, electronic effects and sophisticated compositional elements come together, weaving into an opus that gently guides you into another world. Sometimes loud and intense, sometimes quiet, delicate and almost fragile, the musicians try to express their emotions and portray their entire complexity. "Of course, the concrete music is created by a lot of rehearsal work and by one’s own concept of sound,” Benedikt Schnitzler explained. “And you then try to transfer this into a good result via the sheet music.”

This creates the exciting, unmistakable sound of a musical collective that is able to tell moving stories and whose fixed and spontaneous elements merge into a unique sound. Thank you Hans Anselm!
Auf dem Cover tauchen 18 Namen auf, von den verantwortlichen Köpfen Benedikt Schnitzler (Gitarre), Anna Wohlfahrt (Piano), Arne Imig (Bass) und Leon Griese (Drums), die als Quartett den Kern der Big Band verkörpern, bis hin zu Albrecht Ernst, Olga Amelchenko (beide Altsaxofon), Anna Tsombanis, Musina Ebobissé, Leonie Freudenberger, Marc Doffey (alle Tenorsaxofon), Malte Mittrowann, Gabriel Rosenbach, Laurin Köller, Alexander Gibson (alle Trompete), Jan Landowski, Sonja Beeh, Gregor Littke und Chris Lüers (alle Posanune). Aber einer fehlt: Hans Anselm. In einer Zeit, da es vor überbordenden Egos nur so wimmelt, in der sich jeder um jeden Preis irgendwie bemerkbar machen muss und um öffentliche Aufmerksamkeit buhlt, verwundert es, dass ein Jazzorchester zwar explizit unter einem bestimmten Namen an den Start geht, dieser aber scheinbar nicht aktiv am musikalischen Prozess teilnimmt. Eine Reminiszenz an einen verstorbenen Kollegen? Eine verkappte Danksagung an einen Förderer? Oder ein Pseudonym?

Nichts von alledem. „Hans Anselm ist unser imaginärer, etwas durchgeknallter Freund, der die Band von Beginn an begleitet“, lüftet Benedikt Schnitzler das Geheimnis. „Er verkörpert eine Art kollektives Bewusstsein, das uns vereint, wenn wir zusammen auf der Bühne stehen. Er kann leider nur von der Band gesehen werden, ist aber immer da.“ Eine Art guter Geist also, der über dem Ensemble wacht, es behutsam in die richtige Richtung bugsiert und immer darauf achtet, dass jeder Ton am richtigen Fleck sitzt. Eigentlich bräuchte jede Band einen wie Hans Anselm, schon allein wegen der oben beschriebenen Auswüchse. Denn wenn sich junge Musiker zunächst als kleine Formation im großen Berlin zusammentun, dann müssen sie automatisch gegen eine unüberschaubare Masse von Mitbewerbern ankämpfen, von einer CD, die im gewaltigen Meer der Tonträger unterzugehen droht, ganz zu schweigen. Doch Schnitzler, Wohlfahrt, Imig, Rosenbach und Griese wollten unbedingt ihre Ideen bündeln und in klingende Musik verwandeln, am besten mit der Vielfalt eines Klangapparates wie der Big Band. Dabei ging es ihnen darum, einen Sound zu erzeugen, der vor allem authentisch ist und sich von den traditionellen Hörgewohnheiten löst. Aus dieser Vision, mit der sich das Ensemble immer wieder aufs Neue erfindet, entstand etwas imaginär Wunderbares wie besagter Hans Anselm.

„Uns fasziniert die kompositorische Herausforderung, die Energie und Klanggewalt, die eine Big Band erzeugen kann, die vielen Möglichkeiten mit Klangfarben, Dynamiken und Stimmungen, die klangliche Komplexität und die Auseinandersetzung mit der eigenen Klangsprache“, beschreibt Gitarrist Schnitzler die Motivation der 18 Musiker. Darüber hinaus trügen die Pianistin Anna Wohlfahrt und er als Komponisten wesentlich mehr Verantwortung als in kleineren Formationen, wo der Schwerpunkt häufig auf Improvisation liege. In der Hauptstadt genießt die Hans Anselm Big Band mittlerweile einen glänzenden Ruf, nicht zuletzt dank eines Studio- und eines Live-Albums sowie eines Auftritts im Kulturradio des RBB. Außerdem wird das Orchester seit 2019 von der Berliner Senatsverwaltung für Kultur und Europa gefördert. Alle Ensemblemitglieder kennen sich entweder durch ihre gemeinsame Studienzeit, persönliche Kontakte, Empfehlungen oder vorangegangene Zusammenarbeiten. Neben dem musikalischen Faktor sei vor allem der menschliche enorm wichtig, damit der kreative Ideenfluss ungehemmt funktionieren könne, betont Schnitzler.

Der deutschlandweite Durchbruch soll nun mit „Liquid Circle“ gelingen, das als 81. Folge in der langlebigen und erfolgreichen „Jazz thing Next Generation“-Reihe erscheint. In sieben suitenartigen Stücken begegnen einem dabei zarte Sphären, verschrobene Grooves, farbige Bläsernuancen, elektronische Effekte, raffinierte kompositorische Elemente, die sich zu einem Opus verweben, das einen behutsam in eine andere Welt geleitet. Mal laut und intensiv, mal leise, zart und fast zerbrechlich, versuchen die Musiker ihren Emotionen Ausdruck zu verleihen sowie ihre ganze Komplexität abzubilden. „Die konkrete Musik entsteht natürlich durch viel Probenarbeit und durch die eigene Klangvorstellung“, erklärt Benedikt Schnitzler. „Und diese versucht man dann über den Notentext in ein gutes Ergebnis zu übertragen.“

Dabei entsteht der spannende, unverwechselbare Klang eines Musikerkollektivs, das bewegende Geschichten zu erzählen vermag und dessen festgelegte sowie spontane Elemente zu einem einzigartigen Sound verschmelzen. Hans Anselm sei Dank!

Artist(s)

Arne Imig (bass)

Leon Griese (drums)

Marc Doffey (tenor saxophone)

Sabeth Pérez (vocals) and Marc Doffey (tenor sax, clarinet, bass clarinet) began their musical careers in NRW and met regularly in various ensembles, most recently in the Federal Jazz Orchestra in 2015. There they also met guitarist Bertram Burkert (electric and acoustic guitar), whose fine melodic flair plays such an important part in this band. With Thomas Kolarczyk (double bass) and Fabian Rosch (drums), they also have onboard two high-class and much sought after Berlin musicians, who tour and gig with various bands in diverse genres.  
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Sabeth Pérez (vocals) and Marc Doffey (tenor sax, clarinet, bass clarinet) began their musical careers in NRW and met regularly in various ensembles, most recently in the Federal Jazz Orchestra in 2015. There they also met guitarist Bertram Burkert (electric and acoustic guitar), whose fine melodic flair plays such an important part in this band. With Thomas Kolarczyk (double bass) and Fabian Rosch (drums), they also have onboard two high-class and much sought after Berlin musicians, who tour and gig with various bands in diverse genres.

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Musina Ebobissé (tenor saxophone)

Born in France in 1990, Musina Ebobissé grew up in a musical family. He started playing the saxophone at the age of eight, joining a special programme at the Strasbourg Conservatory. In 2008, he entered the Jazz Department of the Strasbourg Conservatory, where he studied with Eric Watson, Michael Alizon, Philippe Aubry, and Bernard Struber. Alongside his jazz studies he completed a bachelor’s degree in sociology at the University of Strasbourg in 2012. Musina was involved in the Strasbourg musical scene and featured in different projects, developing his skills and versatility through reggae (TND), hip-hop (FREEZ, Art District), and rock (Dolls Can’t). In 2013, Musina entered the Jazz Institut Berlin, where he studied, amongst others, with Peter Weniger, John Hollenbeck, Jim...
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Born in France in 1990, Musina Ebobissé grew up in a musical family. He started playing the saxophone at the age of eight, joining a special programme at the Strasbourg Conservatory.
In 2008, he entered the Jazz Department of the Strasbourg Conservatory, where he studied with Eric Watson, Michael Alizon, Philippe Aubry, and Bernard Struber. Alongside his jazz studies he completed a bachelor’s degree in sociology at the University of Strasbourg in 2012. Musina was involved in the Strasbourg musical scene and featured in different projects, developing his skills and versatility through reggae (TND), hip-hop (FREEZ, Art District), and rock (Dolls Can’t). In 2013, Musina entered the Jazz Institut Berlin, where he studied, amongst others, with Peter Weniger, John Hollenbeck, Jim Black, Kurt Rosenwinkel and Greg Cohen. He completed a bachelor’s degree in jazz performance in 2017 and a master’s degree in jazz composition in 2019.
Benefitting from the vivid Berlin jazz scene, he performs in a variety of musical contexts such as contemporary jazz, improvised music, world music and swing. He has played at renowned international festivals such as Jazz d’Or, Wolfijazz, Jazz in Marciac, MaerzMusik, and Jazz Burghausen. His current projects as a leader are the Musina Ebobissé Quintet, ERB Trio, and Blendreed. As a side man, he plays and has recorded with Ganna Gryniva’s Dyki Lys, Thijs de Klijn Quintet, the Hans Anselm Big Band, Olga Amelchenko’s large ensemble, and the Art ensemble of Moabit. In 2018, Musina Ebobissé won the second prize of the International Jazz Composition Contest of Katowice.

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Olga Amelchenko (alto saxophone)

Albrecht Ernst (alto saxophone)

Anna Tsombanis (tenor saxophone)

Laurin Köller (trumpet)

Jan Landowski (trombone)

Sonja Beeh (trombone)

Gregor Littke (trombone)

Chris Lüers (trombone)

Composer(s)

Press

... after 72 minutes one is impressively filled with all the imaginations filled with a light hand...
Jazzpodium 07 08 2020, 06-7-2020

... very dynamic and clever executed. I would like a lot more!
JazzMo', 28-2-2020

These are timbre, mood, smooth tones and subtle effects.
Jazzism, 14-2-2020

Play album Play album
01.
Lucid Flow
10:48
(Anna Wohlfarth, Benedikt Schnitzler) Anna Wohlfarth, Benedikt Schnitzler, Arne Imig, Leon Griese, Alexander Gibson, Marc Doffey, Musina Ebobissé, Olga Amelchenko, Albrecht Ernst, Anna Tsombanis, Leonie Freudenberger, Malte Mittrowann, Gabriel Rosenbach, Laurin Köller, Jan Landowski, Sonja Beeh, Gregor Littke, Chris Lüers
02.
Demons
08:58
(Anna Wohlfarth, Benedikt Schnitzler) Anna Wohlfarth, Benedikt Schnitzler, Arne Imig, Leon Griese, Alexander Gibson, Marc Doffey, Musina Ebobissé, Olga Amelchenko, Albrecht Ernst, Anna Tsombanis, Leonie Freudenberger, Malte Mittrowann, Gabriel Rosenbach, Laurin Köller, Jan Landowski, Sonja Beeh, Gregor Littke, Chris Lüers
03.
Prisma
10:31
(Anna Wohlfarth, Benedikt Schnitzler) Anna Wohlfarth, Benedikt Schnitzler, Arne Imig, Leon Griese, Alexander Gibson, Marc Doffey, Musina Ebobissé, Olga Amelchenko, Albrecht Ernst, Anna Tsombanis, Leonie Freudenberger, Malte Mittrowann, Gabriel Rosenbach, Laurin Köller, Jan Landowski, Sonja Beeh, Gregor Littke, Chris Lüers
04.
Feline Faible
10:37
(Anna Wohlfarth, Benedikt Schnitzler) Anna Wohlfarth, Benedikt Schnitzler, Arne Imig, Leon Griese, Alexander Gibson, Marc Doffey, Musina Ebobissé, Olga Amelchenko, Albrecht Ernst, Anna Tsombanis, Leonie Freudenberger, Malte Mittrowann, Gabriel Rosenbach, Laurin Köller, Jan Landowski, Sonja Beeh, Gregor Littke, Chris Lüers
05.
I Want My Sugar
08:12
(Anna Wohlfarth, Benedikt Schnitzler) Anna Wohlfarth, Benedikt Schnitzler, Arne Imig, Leon Griese, Alexander Gibson, Marc Doffey, Musina Ebobissé, Olga Amelchenko, Albrecht Ernst, Anna Tsombanis, Leonie Freudenberger, Malte Mittrowann, Gabriel Rosenbach, Laurin Köller, Jan Landowski, Sonja Beeh, Gregor Littke, Chris Lüers
06.
Forward
08:27
(Anna Wohlfarth, Benedikt Schnitzler) Anna Wohlfarth, Benedikt Schnitzler, Arne Imig, Leon Griese, Alexander Gibson, Marc Doffey, Musina Ebobissé, Olga Amelchenko, Albrecht Ernst, Anna Tsombanis, Leonie Freudenberger, Malte Mittrowann, Gabriel Rosenbach, Laurin Köller, Jan Landowski, Sonja Beeh, Gregor Littke, Chris Lüers
07.
Der Zeitpunkt
10:59
(Anna Wohlfarth, Benedikt Schnitzler) Anna Wohlfarth, Benedikt Schnitzler, Arne Imig, Leon Griese, Alexander Gibson, Marc Doffey, Musina Ebobissé, Olga Amelchenko, Albrecht Ernst, Anna Tsombanis, Leonie Freudenberger, Malte Mittrowann, Gabriel Rosenbach, Laurin Köller, Jan Landowski, Sonja Beeh, Gregor Littke, Chris Lüers

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