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Reflex - Jazz Thing Next Generation Vol. 86

Phillip Dornbuschs Projektor

Reflex - Jazz Thing Next Generation Vol. 86

Price: € 14.95
Format: CD
Label: Double Moon Records
UPC: 0608917138320
Catnr: DMCHR 71383
Release date: 29 January 2021
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Label
Double Moon Records
UPC
0608917138320
Catalogue number
DMCHR 71383
Release date
29 January 2021

"Next Generation Saxophone Jazz with fresh ideas, surprising twists and tremendous playing..."

Inmusic, 23-4-2021
Album
Artist(s)
Composer(s)
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About the album

The Covid-19 crisis is not currently dealing with culture in a very careful way. For the second time, an emergency stop, which makes not a few of those affected even doubt their raison d'etre. The eternal discussion of relevance deals precisely with those who have classified themselves in the pigeonhole “Jazz”. On the other hand, Phillip Dornbusch's recipe is as simple as it is obvious: to make the world a little bit better. “I want to raise awareness of certain problems with my music,” the 26-year-old tenor saxophonist explained his chosen path. “For example, I wrote ‘Mourning’ when the ship “Sea Watch 3” was detained with many refugees onboard in Italy in July 2019. That moved me a lot, and the piece emerged from these feelings. When we play it live, I imagine the audience dealing with the story. And so I want to do my part to help things move in a different direction.”

Someone is really considering here why he is on stage, why it should be worth competing with thousands of well-trained saxophone players in an imaginary way, and what concepts could then be used to stand out from this anonymous mass. No, he does not want to reinvent the wheel, the 26-year-old said, who lives in Berlin-Schöneberg and comes from Stadthagen near Hanover. Coltrane remains unmatched, as does Lester Young, or one from the younger generation like Chris Speed. He has also reaped inspiration from awesome co-musicians such as Niels Klein, who has enriched the saxophone set in the Federal Youth Jazz Orchestra under its conductor Phillip Dornbusch since 2018, and Philipp Gropper, Pablo Held and Uli Kempendorff, but also from teachers such as Peter Weniger, Greg Cohen, Julia Hülsmann, Jörg Achim Keller, Marc Müllbauer, Gregoire Peters and Sebastian Gille. He got to know and appreciate all of them during his studies at the Jazzinstitut Berlin. They showed him paths to take, which he deliberately wanted to go alone.

When Dornbusch plays, he doesn't necessarily do it according to the book. His maxims are: experiment, try things out and avoid repetitions if possible. “I concern myself far too little with theory. I prefer composing from my moods.” Fewer notes. Just let your feeling and form on the day flow. As a result, the same piece can regularly sound different in key, rhythm and harmonic variations.

For this, open, flexible kindred spirits are needed, who also have an excellent command of their instrument. Therefore, it took much longer than just a few phone calls to put together “Projektor”, this young researcher quintet with the pianist Johanna Summer, the guitarist Johannes Mann, the bassist Roger Kintopf and the drummer Philip Dornbusch (who curiously is not related to the man on the tenor saxophone; the tiny difference lies in the “l” in the first name), which is now releasing a work with “Reflex” (Double Moon/inakustik) that also opens a new chapter for the successful Jazz thing Next Generation series. The current sequel in the series is actually an album like a reflex, perhaps the first one that doesn't start with finished concepts, but looks like a blank that everyone can bend, grind or knock into shape at will. “Boss” Dornbusch naturally composed with notes, wrote down certain parts quite precisely to consolidate the basic idea of the respective piece, but leaves at least as much open. In this context, the saxophonist often speaks of the “character of music” or of the “atmosphere”, encouraging his fellow musicians to play completely freely as well as unpredictable solos. Dornbusch thus proves to be the somewhat different architect. “I draw the plan for a house, the floor plan, the fireplace and certain rooms. The others can add the rest with all their creativity.” The musical renaissance of the Bauhaus style, so to speak – and hopefully to be admired live again starting from March. Otherwise, you would really miss something…
Die Corona-Krise geht zurzeit nicht gerade pfleglich mit der Kultur um. Zum zweiten Mal eine Vollbremsung, was nicht wenige der Betroffenen sogar an ihrer Daseinsberechtigung zweifeln lassen. Die ewige Relevanzdiskussion beschäftigt gerade solche, die sich in der Schublade „Jazz“ eingeordnet haben. Phillip Dornbuschs Rezept dagegen ist so simpel wie naheliegend: die Welt einfach ein kleines Stückchen besser zu machen. „Ich möchte mit meiner Musik bestimmte Probleme ins Bewusstsein rufen“, erklärt der 26-jährige Tenorsaxofonist seinen eingeschlagenen Weg. „´Mouning` zum Beispiel habe ich geschrieben, als im Juli 2019 das Schiff „Sea-Watch 3“ mit all den Flüchtlingen in Italien festgesetzt wurde. Das hat mich sehr bewegt, und aus diesen Gefühlen heraus ist das Stück entstanden. Wenn wir es live spielen, stelle ich mir vor, dass sich das Publikum mit der Geschichte auseinandersetzt. Und so möchte ich meinen Teil dazu beitragen, dass sich Dinge in eine andere Richtung bewegen.“
Da überlegt einer wirklich, warum er sich auf eine Bühne stellt, wieso es sich lohnen sollte, in einen imaginären Wettbewerb mit tausenden von gut ausgebildeten Saxofon-Kolleginnen und -Kollegen zu treten, und mit welchen Konzepten man dann aus dieser anonymen Masse herausstechen könnte. Nein, das Rad neu erfinden, das wolle er gar nicht, sagt der 26-Jährige, der in Berlin-Schöneberg lebt und aus Stadthagen bei Hannover stammt. Coltrane bleibe unerreicht, ebenso wie Lester Young oder aus der jüngeren Generation einer wie Chris Speed. Er habe sich auch gerne von starken Musikerkollegen wie Niels Klein, unter dessen Dirigat Phillip Dornbusch seit 2018 im Bundesjugendjazzorchester den Saxofonsatz bereichert, Philipp Gropper, Pablo Held oder Uli Kempendorff inspirieren lassen, aber auch von Lehrern wie Peter Weniger, Greg Cohen, Julia Hülsmann, Jörg Achim Keller, Marc Müllbauer, Gregoire Peters oder Sebastian Gille. Sie alle lernte er im Laufe des Studiums am Jazzinstitut Berlin kennen und schätzen. Sie zeigten ihm Wege auf, die er jedoch bewusst alleine gehen wollte.



Wenn Dornbusch spielt, dann tut er dies nicht unbedingt nach Schema F. Seine Maximen lauten: experimentieren, ausprobieren, tunlichst Wiederholungen vermeiden. „Da bin ich viel zu untheoretisch. Ich schreibe lieber aus Stimmungen heraus.“ Weniger Noten. Einfach vom Gefühl und der Tagesform treiben lassen. So kommt es vor, dass ein und dasselbe Stück regelmäßig anders klingt, in Tonart, Rhythmus und harmonischen Variationen.
Dafür braucht es offene, flexible Gleichgesinnte, die noch dazu ihr Instrument exzellent beherrschen. Deshalb dauerte es wesentlich länger als bloß einige Telefonate, um „Projektor“ zusammenzustellen, jenes junge Forscher-Quintett mit der Pianistin Johanna Summer, dem Gitarristen Johannes Mann, dem Bassisten Roger Kintopf und dem Drummer Philip Dornbusch (der kurioserweise nicht verwandt mit dem Mann am Tenorsaxofon ist; der winzige Unterschied liegt beim „l“ im Vornamen), das nun mit „Reflex“ (Double Moon/inakustik) ein Werk veröffentlicht, das auch für die erfolgserprobte Jazz thing Next Generation ein neues Kapitel aufschlägt. Die aktuelle Folge ist tatsächlich ein Album wie ein Reflex, das erste vielleicht, das nicht mit fertigen Konzepten an den Start geht, sondern wie ein Rohling anmutet, den sich jeder nach Gutdünken zurechtbiegen, schleifen oder klopfen kann. „Chef“ Dornbusch komponiert selbstredend mit Noten, schreibt bestimmte Parts ziemlich exakt auf, um den Grundgedanken des jeweiligen Stücks zu verfestigen, lässt aber mindestens genauso viel offen. Der Saxofonist spricht in diesem Zusammenhang häufig vom „Charakter der Musik“ oder von der „Atmosphäre“, ermuntert seine Mitstreiter zum völlig freien Spiel wie zu unvorhersehbaren Solos. Dornbusch erweist sich damit als der etwas andere Architekt. „Ich zeichne den Plan für ein Haus, den Grundriss, den Kamin und bestimmte Zimmer. Den Rest dürfen die anderen mit all ihrer Kreativität hinzufügen.“ Die musikalische Renaissance des Bauhaus-Stils gewissermaßen – und hoffentlich ab März auch wieder live zu bestaunen. Man würde sonst wirklich etwas verpassen…

Artist(s)

Phillip Dornbusch (saxophone)

Roger Kintopf (bass)

Roger Kintopf is a bassist and composer. Raised in a musical family, he has gained on-stage experience since being a child. After getting classical piano lessons for a few years, he already won his first awards at the competitions „Jugend Musiziert“ and „International Rotary Pianocompetition“. After spending his early years on the piano, Kintopf switched to the electric bass which eventually became his gateway to the double bass. Over the past few years Roger Kintopf has established a strong voice within the German Jazz scene, playing and having performed with artists as Loren Stillman, Travis Reuter, Billy Test, Frank Gratkowski, Jonas Burgwinkel, etc. Roger works as well as a sideman in small and large ensembles featuring guest stars like Kit Downes, Christian...
more

Roger Kintopf is a bassist and composer. Raised in a musical family, he has gained on-stage experience since being a child.

After getting classical piano lessons for a few years, he already won his first awards at the competitions „Jugend Musiziert“ and „International Rotary Pianocompetition“. After spending his early years on the piano, Kintopf switched to the electric bass which eventually became his gateway to the double bass.

Over the past few years Roger Kintopf has established a strong voice within the German Jazz scene, playing and having performed with artists as Loren Stillman, Travis Reuter, Billy Test, Frank Gratkowski, Jonas Burgwinkel, etc. Roger works as well as a sideman in small and large ensembles featuring guest stars like Kit Downes, Christian Lillinger, Evan Parker, etc.

Kintopf played in New York with the Youth Jazz Orchestra of Hessen in 2015 and has been a member of the German National Jazz Orchestra (BuJazzO) 2016-2018, whereby he toured through Ecuador and India in 2017. With a variety of bands, he has played concerts in Germany, France, Netherlands, Poland, Czech Republic, Switzerland, USA, Ecuador, India and Nepal.

Roger has studied at Hochschule für Musik und Tanz in Cologne with Dieter Manderscheid, Dietmar Fuhr and Jonas Burgwinkel from 2016 to 2018. Since 2019, Roger has been based in Paris, continuing his studies abroad.

Roger Kintopf has played at festivals and locations like Jazzfest Bonn, Eldenaer Jazz Evenings, Plush Music Festival, Stadtgarten Cologne, Altes Pfandhaus Cologne, Philharmonic Hall Cologne,

Philharmonic Hall Essen, Bimhuis Amsterdam, etc.


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Johanna Summer (piano)

The Süddeutsche Zeitung hailed Johanna Summer’s performance at the Young Munich Jazz Prize in 2018 as “a small sensation”. The pianist, born in Plauen in Saxony in 1995, had encompassed the whole gamut from jazz freedom to classical rigour. The critic from this respected newspaper marvelled at her “amazing gift to make well-known melodies sound so convincingly her own, they develop a real sense of creative urgency.” Summer’s winning of the prize itself became almost incidental; far more significant was the fact that this competition heralded the arrival of one of the most interesting new pianists in European jazz.   For her debut album, Summer has chosen to make compositions by Robert Schumann the point of departure for her journeys into pianistic...
more
The Süddeutsche Zeitung hailed Johanna Summer’s performance at the Young Munich Jazz Prize in 2018 as “a small sensation”. The pianist, born in Plauen in Saxony in 1995, had encompassed the whole gamut from jazz freedom to classical rigour. The critic from this respected newspaper marvelled at her “amazing gift to make well-known melodies sound so convincingly her own, they develop a real sense of creative urgency.” Summer’s winning of the prize itself became almost incidental; far more significant was the fact that this competition heralded the arrival of one of the most interesting new pianists in European jazz.
For her debut album, Summer has chosen to make compositions by Robert Schumann the point of departure for her journeys into pianistic fantasy. Schumann’s cycles of piano pieces “Kinderszenen” (scenes from childhood) and “Album für die Jugend” (album for the young) had been familiar to her since childhood, not just as player and listener, but also – because Schumann was from nearby Zwickau – as works by someone from her region of Germany. From an early age she was enchanted by both the melodic and the pictorial aspects of these short pieces. And yet, to make her own adaptations of seven of the pieces was a far from a simple task: “I worked for a long time on re-casting them, trying out all of the pieces in all keys and in a lot of different time signatures, creating several miniature interpretations and finally arrived at this selection, which I shaped into a cohesive sequence with a single arc.” The depth of her involvement with the original Schumann pieces comes across strongly on the album. As does her impressive and complex personality as a jazz musician with a very wide range of expression: romantic passages and an instinct for melody, but also powerful grooves and exciting innovations. And all imbued with a sense of how to tell stories through music, a mature and clear vision of dramaturgy, dynamics, tension and atmosphere. A sentence written by Schumann seems to predict exactly the kind of new life that Johanna Summer has breathed into these pieces: “How infinite is the realm of forms, with everything that can be used and worked on for centuries to come.”
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Johannes Mann (guitar)

Composer(s)

Phillip Dornbusch (saxophone)

Press

Next Generation Saxophone Jazz with fresh ideas, surprising twists and tremendous playing...
Inmusic, 23-4-2021

... By involving the listener in the process of creating his own world of thoughts, Dornbusch comes very close to him. A clever first release.
Rondo, 13-2-2021

... Between interlocking motifs, atmospherically wide-open arrangements and explorative interplay, "Reflex" remains exciting throughout...
Concerto, Austria, 06-2-2021

... In 7 self-composed titles the quintet of sax/clarinet, piano, guitar, bass and drums acts mostly free, in the sense of not pre-arranged, impresses with craftsmanship, emotional depth and spirited playing and letting out...
Na Dann, 04-2-2021

... This jazz is not jazz for the cocktail bar, not jazz to listen to on the side, it doesn't really swing either, and despite the occasional impression that it could become academic or cerebral, this approach of an impression is quickly thrown overboard, because rather almost mystical moods shine through the scenery, and with a special kind of emotional expression...
Musikansich, 31-1-2021

... A sizzling debut that opens the ears to great promise.
Midwest Record, 15-1-2021

jazz-fun.de says: How many colors, fresh, surprising ideas, how many emotional nuances there are here! We can write a lot about the wealth of associations, references, ideas, but it's better to just let this music lead you. "Reflex" is a wonderful album and will remain a jewel of our collection for a long time.
Jazz-Fun

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