(Avant-Garde Jazz, Modern Creative, Microtonal) [WEB] Gebhard Ullmann, Hans Lüdemann, Oliver Potratz & Eric Schaefer - mikroPULS - 20

Gebhard Ullmann, Hans Lüdemann, Oliver Potratz & Eric Schaefer / mikroPULS Жанр: Avant-Garde Jazz, Modern Creative, Microtonal Носитель: WEB Страна-производитель диска (релиза): GER Год издания: 2019 Издатель (лейбл): Intuition Records Номер по каталогу: INT 3448 2 Страна исполнителя (группы): GER Аудиокодек: FLAC (*.flac) Тип рипа: tracks Продолжительность: 00:44:16 Источник: собственная покупка Наличие сканов в содержимом раздачи: Digipak.pdf, front+back Треклист: 1. Flutist with Hat and Shoe (07:15) 2. Enge Bewegung (06:29) 3. F.J.D. (05:29) 4. Head Quarter (04:10) 5. Ankunft (03:14) 6. Human Body Upgrade (04:44) 7. Tanz der Mikroben (05:39) 8. Zeit Lupe (07:16) Лог проверки качества AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -=== DO NOT EDIT THIS FILE! ===- Path: ...\Gebhard Ullmann, Hans Ludemann, Oliver Potratz & Eric Schaefer - 2019 mikroPULS [FLAC] 1 -=- 01 Flutist with Hat and Shoe.flac -=- CDDA (100%) 2 -=- 02 Enge Bewegung.flac -=- CDDA (100%) 3 -=- 03 F.J.D..flac -=- CDDA (100%) 4 -=- 04 Head Quarter.flac -=- CDDA (100%) 5 -=- 05 Ankunft.flac -=- CDDA (100%) 6 -=- 06 Human Body Upgrade.flac -=- CDDA (100%) 7 -=- 07 Tanz der Mikroben.flac -=- CDDA (100%) 8 -=- 08 Zeit Lupe.flac -=- CDDA (100%) Summary 100,00% CDDA 256347316 Доп. информация: front, 500px->2500px @ amazon   back, 500px->2500px @ amazon   Recorded at RBB, Berlin, 21-22 June 2017 Mixing and mastering February 2019 Photos: Thomas Ernst (inside front c, pp. 4, 17), private (p.11) PULS is an acronym of the musicians surnames http://www.discogs.com/mikroPULS-Gebhard-Ullmann-Hans-L%C3%BCdemann-Oliver-Potrat...release/14474021 https://www.amazon.com/dp/B07TPYXBRW/ Об исполнителе (группе) https://en.schott-music.com/shop/mikropuls-no417429.html Ullmann, one of the most active and inquisitive saxophonists in the German jazz scene and the pianist Hans Lüdemann had both experimented independently with microtonality. The music of mikroPULS lives in the space between the extremes of discovering new worlds and returning to the roots of African-American music. The group’s experimentation with microtonality is both an intellectual challenge and a bridge to the music of the African-American experience from which jazz grew and to which all four musicians of mikroPULS feel connected: the blues. Gebhard Ullmann, Hans Lüdemann, Eric Schaefer und Oliver Potratz – they are PULS an acronym for the family names of the band members. mikroPULS lets us participate in an excursion by these four musicians into unknown territory. Ullmann, Lüdemann, Potratz, and Schaefer enable us to experience new sounds and types of listening without losing our way. Their music opens our ears and confronts us with our own preconceptions. The goal of these musicians is to feel so at home with their expanded musical vocabulary that the resulting music sounds completely organic and self-evident. http://jazzpress.gpoint-audio.com/2019/10/october-18th-release-intuition-label-ge...manns-mikropuls/ German reed-man Gebhard Ullmann‘s mikroPULS quartet debuts on Intuition label. With well trusted company with which walking through the straight path of blues scales or going into off-roads of micro-tonality seems to be equally challenging and pleasant journey. Ullmann, one of the most active and inquisitive saxophonists in the German jazz scene and the pianist Hans Lüdemann had both experimented independently with microtonality. The music of mikroPULS lives in the space between the extremes of discovering new worlds and returning to the roots of African-American music. The group’s experimentation with microtonality is both an intellectual challenge and a bridge to the music of the African-American experience from which jazz grew and to which all four musicians of mikroPULS feel connected: the blues. Ullmann, one of the most active and inquisitive saxophonists in the German jazz scene, began to experiment with quarter tones and regularly integrated micro-tonal elements into his projects – such as The Clarinet Trio and the Basement Research quartet. In 2017, Ullmann was awarded the first Berlin Jazz Prize, which included not only a substantial financial award but also a live concert recording by rbb (Berlin-Brandenburg Broadcasting) and a professional studio recording. At the awards concert in Berlin, Ullmann appeared with the same musicians who perform on this recording: Oliver Potratz on bass and Eric Schaefer on drums (both of whom are members of Ullmann’s trio Das Kondensat, a group that experiments with the possibilities provided by electronic sound manipulation). Also part of the group in Berlin was pianist Hans Lüdemann, with whom Ullmann had worked at the beginning of his career when both of them were living in Hamburg. Об альбоме (сборнике) Every one of us lives with a tonal system in our head. The diatonic-chromatic- enharmonic system that has long dominated Western music was codified at an early stage through the use of notation. Later, around the beginning of the 17th century, major/minor tonality superseded the old church modes and has influ- enced our perceptions of harmony ever since. These perceptions are, however, constantly evolving. When blues, jazz, and other forms of African-American music brought the first “blue notes” to Europe in the early 20th century, they created quite a stir, because neither their pitch nor their harmonic function fit into the conventional tonal system. Our musical sensibilities are nonetheless learned, not innate. Even if we do not understand music theory, we feel the way the dominant resolves to the tonic; we sense whether chords are more conso- nant or dissonant. We find our ability to remember melodies that conform to our tonal system self-evident, but are astonished when people from other cultures do the same with their own music. An example would be the melodies with “notes in between” in Arabic music, where for centuries the octave has been divided into more than our usual 12 half steps, with additional quarter-tone, three-quarter-tone, and five-quarter-tone intervals. https://www.jazziz.com/track-by-track-gebhard-ullmann-mikropuls/ Gebhard Ullmann, one of the most active and acclaimed saxophonists on the German jazz scene, voices his characteristic inquisitiveness on mikroPULS, his new album for the Intuition label, released on October 18. The music on this exciting new record explores freedom and tonality, often blending and mixing diverse traditions, such as the African-American ones of the blues and the microtonality most often associated with Western European compositions. He’s not alone on this venture. Joining him on this project, an exciting ensemble of fellow musical adventurers – Hans Lüdemann on pianos, Eric Schaefer on drums, and Oliver Potratz on double bass – with all members contributing one or more original compositions to the project. We asked Ullmann to take us through each track of mikroPULS to understand the inspiration behind each song and some of the work that went into the making of this new album. “Flutist With Hat and Shoe” This is a good example of how this quartet combines quarter-tone compositions with more jazz-like chords. While it starts as a modern open jazz ballad with a beautiful melody plus chords, I later introduce a quarter-tone line that is performed in unison by saxophone and piano. Hans Lüdemann uses a sampled grand piano tuned a quarter-tone apart with the original grand piano and plays all microtonal lines with both hands, while I play them with specific fingerings in unison with him on tenor saxophone. The composition as a whole shifts between the two worlds of 24 quarter-steps to an octave. The title, “Flutist with Hat and Shoe,” could be the name of an imaginary surrealist painting. “Enge Bewegung” This is a composition by Hans Lüdemann. It starts with a pizzicato bass solo, while the piano comes in later, introducing the conventional harmonic world before the sax comes in and pushes the music towards the microtonal world. The melody first moves around the G notes and the quarter-tone between G and F# which explains the title “EngeBewegung” (tight movement). Piano and drums are featured as a duo before bass and saxophone bring back the second part of the quarter-tone melody. “F.J.D.” A composition of mine dedicated to Eddie Harris’ “Freedom Jazz Dance.” This is one of the key compositions for this quartet. It is about freedom in music and tonality which is the approach that we use from Eddie Harris’ composition while everything else is in 24 quarter-steps leaving the 12 half-step world completely. The introduction is a long unison line between piano and saxophone and drums and bass when they join work completely independent shifting between 6/4 and 7/4 meters while the main theme is loosely in 4/4. “Head Quarter” This is a composition that Eric Schaefer brought to the band. It is, again, completely in the 24-step world. It is an intertwining number of four different lines for each instrument, strictly built in four parts with a declining and diminishing coda melody, played in the end by piano and saxophone alone. This may be the composition that is leaning most towards contemporary chamber music, as everything is through-composed. “Ankunft” Written by Hans Lüdemann, this composition is based on “normal” broken chords of which the bottom note moves in quarter tones. It features a bass arco solo in the microtonal world above these chords and a long saxophone solo exploring the world beyond 24 steps of sound and noise. This beautiful piece is entitled “Ankunft” (arrival). “Human Body Upgrade” This is a piece written by Oliver Potratz. It starts with a never-ending microtonal world buzzing around the tone B using circular breathing on saxophone. The rhythm section works again completely independent starts and stops while piano and drums move on and add new notes until in the end, they play a cluster of seven quarter-tone and half-tone notes. After the tour de force of this piece, built purely on evolving sounds, it is easy to understand what Oli describes with his title of the piece. “Tanz der Mikroben” This composition – “Dance of the Microbes” – is in 7/8. It is a good example of the combination of the two harmonic worlds that come together on this CD plus a 7/8 groove from the jazz world with solos. The theme moves through different tonal centers shifting between half steps and quarter steps always re-introducing the “shimmering” of the quarter-tone world. “Zeit Lupe” This is maybe the main ballad of the CD that I wrote a while ago based on a quarter-tone melody with quarter-tone soloing plus chords that keep the melody somewhat “in between.” This piece is dedicated to Charles Lloyd and is recorded here for the first time with quarter-tone piano. Zeit Lupe are two words in German meaning separately time and enlargement glass – and if you put them together (Zeitlupe) it means slow motion. Состав Gebhard Ullmann: tenor saxophone; Hans Lüdemann: piano and virtual piano; Oliver Potratz: double bass; Eric Schaefer: drums