Jazz in Hamburg - Modern & Free Jazz Live Konzerte


Hallo liebe Besucher, ab Mai 2019 wird FatJazz in den YOKOCLUB ziehen, alle Veranstaltungen finden dann vorerst dort satt. Grund sind die umfangreichen Bauarbeiten auf dem Dach des Uebel&Gefährlich. Ihr findet uns wie gewohnt jeden Mittwoch dann im

YOKOCLUB

Valentinskamp 47, 20354 Hamburg,
gegenüber der Laeiszhalle.


VERANSTALTUNGEN


Fatjazz im EXIL - Fredrik Lundin - Max Böhm Quartet

Datum:13.02.2019
20:00

YOKO CLUB
Hamburg-Mitte, Valentinskamp 47, 20354 Hamburg

FREDRIK LUNDIN - 5 Go Adventure Again
Fredrik Lundin – saxes
Tomasz Dabrowski – tp
Petter Hängsel – tb, synth
Joel Illerhag – b
Anders Provis – dr

FREDRIK LUNDIN
This is my first encounter with a bazantar (played marvellously by Illerhag): apparently, it is a 5 string acoustic bass, that also has a whole bunch of other strings (29 ‘sympathetic’ and 4 ‘drone’) so that it can sound, at times like a sitar, at times like a more familiar bass which on the evidence here, has a deep, rich sound plucked and arco. Lundin’s compositions have the feel of elegant brass quartet, moving effortlessly between somewhat spooky film score to well-structured contemporary pieces. This unusual grouping of instruments (for jazz records) provides a richness of sound that Lundin works with magisterially. There is, across the pieces, a hint of the Gothic in titles and their descriptions in the liner notes: ‘The Hound of the Baskerville’ (“fog is wafting in from the moor”), ‘Crumbling Castles’ (“ruins are reminders of the fact that we shouldn’t take anything for granted”), ‘The Pond’ (“The darkish brown water in covered with water lilies”), and (‘Being in a dark place’ (“darkness can be a source of great artistic inspiration”). The compositions conjure up a sense of place and convey the underlying philosophy and mood of Gothic sensibility.
The inclusion of percussion, bazantar and synth creates a different (but fitting) texture and the group shift into jazzier gears while never losing the structure and pace of the composed pieces. Even the improvised breaks, particularly on trombone, trumpet and bazantar, polish the edges and maintain the balance of the music.

The loosest piece, perhaps, is track 7 ‘Jumping Jack’ in which a hurtling bop-inflected trumpet solo scampers in front of the group as it plays an off-tempo backing. The closing track, ‘Prairie Dreams’, has a lolloping gait, as you’d expect to hear as the heroes ride into the sunset, but over the top of this the interplay of horns creates such a Cool vibe that you drift after them into the sunset, spurred on by Lundin’s understated sax playing which (through the set) gently steers the pieces and spurs on the soloists. Compelling stuff.


https://www.youtube.com/watch?v=KsbuVAoNwvI


LATE NIGHT CONCERT
MAX BÖHM QUARTET
Max Böhm – as
Albin Vesterberg – git
Gustav Broman – b
Moritz Hamm – dr



Zurück zur Übersicht


Jeden Mittwoch ab 19:30Uhr,

Konzertbeginn ab 20:00Uhr.


FATJAZZ urban exchange

im

YOKOCLUB

Valentinskamp 47,
20354 Hamburg,
gegenüber der Laeiszhalle.


Eintritt 10,- / ermäßigt 6,-

* Sonderkonzerte 15,- / 10,-



Free Jazz ist einerseits ein historischer Begriff für freies Improvisationsspiel im Jazz seit den 1960er Jahren,

andererseits ist es ein bis heute ausstrahlendes Paradigma, das die Möglichkeit zur freien Entfaltung immer neuer Formen im Jazz und auch darüber hinaus bereithält.

Der Begriff selbst kann zu Missverständnissen führen, da eine Freiheit in Bezug auf die herkömmlichen Spielhaltungen des Jazz nur bedingt genutzt wird und es neben einer völligen Freiheit in der Form durchaus Improvisationen gibt, die auf Kompositionen und kompositionsähnlichen Absprachen über Strukturen beruhen.


Free jazz is an approach to jazz music that was first developed in the 1950s and 1960s as musicians attempted to alter, extend, or break down jazz convention, often by discarding fixed chord changes or tempos. Though the music of free jazz composers varied widely, a common feature was dissatisfaction with the limitations of bebop, hard bop, and modal jazz that had developed in the 1940s and 1950s. Often described as avant-garde, free jazz has also been described as an attempt to return jazz to its primitive, often religious, roots and emphasis on collective improvisation.