We’re on the launch of an ECM album, and at first we predict we all know what to anticipate: this can be a secular ceremony to be taken somewhat critically. We’re the fortunate few who’ve gathered in Berlin to have a good time a recording made within the tranquillity of La Buissonne studio within the Vaucluse, wherein a beautiful pure circulation prevails (see critiques, hyperlinks under). Within the first few numbers, the band, and drummer Heinrich Köbberling particularly, catches that temper, fulfils these expectations. He’s honouring Paul Motian really and deeply with all the feel and timbre and delicacy we’d count on…
However then one thing particular occurs. Out of the blue, the temper has been lifted. Köbberling takes maintain of “Wasp on the Window” and begins to drive it ahead with completely unstoppable intent. A mischievous smile that begins from him has immediately damaged out on each face within the band. Julia Hülsmann is giving him conspiratorial appears over the strings of the piano. The entire viewers will get it, smiles too. The temper in a room has been lifted, fully modified.
The expertise of not simply listening to but in addition seeing a band as assured, as played-in, as magnificently led as this one, and at such quarters is an entire deal with. How can markets have gotten it so fallacious? Folks have been packing stadiums and feeding the greed of Viagogo to see bands as specks within the distance, and ignoring smaller venues. And but absolutely these treasurable locations are the perfect environment wherein to hearken to music. What may be higher than a supportive, musician-friendly and intimate area reminiscent of “Berlin’s jazz living-room”, the A-Trane?
The miracles proceed because it turns into doable to see from close-up how mind-alteringly and fully Uli Kempendorff has mastered all of the overtone sequence, harmonics, multiphonics which might be there to be found on a tenor saxophone, and but may play the traditional registers as lyrically as Mark Turner or Warne Marsh.
There are particular results in tunes that develop into comprehensible when one sees them, reminiscent of Marc Muellbauer‘s deft execution of three-part chords on bass (transcribed immediately from the Chopin prelude, apparently) in Valdemossa, or certainly the infinitely refined variations in pedalling that Hülsmann brings to Fluid.
This was the primary evening of a significant tour for Julia Hülsmann Quartet’s taking part in the fabric from the brand new ECM album The Subsequent Door. In a phrase: GO (tour dates under)
An apart. A musician chauffeur-drove me to the gig in a car-share car. And any more there’s actually just one approach I wish to go to a jazz gig. In one other phrase… MILES.