Umlaut

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Umlaut

Grip, Denzler and Johansson, respectively in their early thirties, early fifties and early seventies, found each other through the intertwining scenes between Paris and Berlin. When taking a look at their previous musical activities you will get an exquisite account of the contemporary history of experimental improvised musics (yes, plural!) in Europe. It is a dense heritage in service of forming a new model for a creative process. Emerged through the questioning of methods, Neuköllner Modelle combine bipolar procedures in creating something which could be likened with a retarding ballad of the insistent up-tempo murmur accelerating in the backdrop-world of today. "Neuköllner Modelle is a gathering of musical ideas which function really good together. Our instruments and unique way of handling them formed the model serving the creation of Neuköllner Modelle. First there was an idea of the music, then there was the band. Our language is individually different and slowly changing, therefore we have something to say when we play. We are common in being different. A common thought is sometimes more reducing than a dissident. Anyway, without tension or friction, no music. In my music these opposing elements are of great importance. "Sektion 1-2" is an ambitious production in the sense that we have made (and make) our best to make it reflect the first idea we had. The questions of our age-differencies are not so interesting for me. It is more of an obvious and natural fact. What is more sad, maybe, is that not so many musicians today work across the invisible generational borders.'' Joel Grip, interviewed on the Free Jazz Blog "Pairing Denzler, a musician with an astute approach to minimalist saxophone (check out Tenor (Potlatch, 2012)), with Grip, a collocating musician who ties many disparate European improvisational forms together, and Johansson, the Swiss army knife (although he is Swedish) of drummers, is a genius amalgam of musicians." - All About Jazz --- Bertrand Denzler / saxophone Joel Grip / double bassSven-Åke Johansson / drums --- Recorded by Andrew Levine at Sowieso, Berlin, November 2015. Mastered by Werner Dafeldecker. Cover design by Teresa Iten. Notes by Bastian Zimmermann. Produced with the support from The Swedish Art Council.

Neuköllner Modelle - Sektion 1 - 2

The 14 musicians of UMLAUT BIG BAND, mostly from the new jazz guard (Un Poco Loco, ONJ, Duke Orchestra) and European improvisation (Hochstapler, Peeping Tom, Bribes 4, White Desert Orchestra, ONCEIM), have been celebrating together since 2011 the golden age of swing in the tradition of big band orchestras, whether mythical or unfairly forgotten. In EURO SWING VOL. 2 , the Umlaut Big Band documents another history of jazz in Europe between 1925 and 1940: that of American smugglers. While a first part, "Euro Swing" (Umlaut Records, 2015), was interested in European composers and arrangers, this new opus focuses on the work of American musicians on the old continent. The aim is to shed light on the role of smugglers such as Benny Carter, Duke Ellington, Sam Wooding, Willie Lewis and Fud Livingston, who have been able to play across Europe. Always in search of a surprising and sharp repertoire of music, the Umlaut Big Band exhumes again beautiful treasures forgotten. --- The Umlaut Big Band are: Pierre-Antoine Badaroux / direction and saxophone alto Antonin-Tri Hoang / saxophone alto, clarinet Geoffroy Gesser / saxophone tenor and clarinet Jean Dousteyssier / saxophone tenor and clarinet Benjamin Dousteyssier / saxophone alto and baryton  Brice Pichard, Louis Laurain, Emil Strandberg / trumpet Fidel Fourneyron, Michaël Ballue, Nicolas Grymonprez / trombone Romain Vuillemin / guitarBruno Ruder / piano Sébastien Beliah / bass Antonin Gerbal / drums --- Recorded 23-27.02.2015, at the Luisant, Germigny-L'Exempt by Ken Yoshida. 

Umlaut Big Band - Euro Swing Vol 2

One of the best records of 2017 for sure. Four of the most idiosyncratic and creative voices at the margins of jazz, imagine their way into and around the music and philosophy of Ahmed Abdul-Malik. This is music to listen, dance and think to. A new jazz record, from a new jazz band. [Ahmed] make music about the music of Ahmed Abdul-Malik. They excavate, re-inhabit and use a-new the now overlooked documents, and fragmentary plans, of his mid-20th century synthetic vision to produce a new jazz imagination for the 21st century. Ahmed-Malik (1927-1993) was a NYC bassist, oudist, composer, educator and philosopher. A potent(ial) influence on Coltrane and Monk (we imagine), he was also a significant composer in his own right. (Ignored into creative obscurity, he spent his final decades teaching, and performing seldom). His albums Jazz Sahara (1958) and East Meets West (1960) fuse aspects of Arabic and East African musics and thought, his committed long-term relationship with Sufi Islam, and then-modern jazz and thinking – in revolutionary and vital ways. The product is exciting, radical, raw, and beautiful. But, as well as honouring these traditions, Abdul-Malik invented and imagined a lot*. Abdul- Malik’s straddling, synthetic and inclusive vision is one of the great projects of the imagination in jazz. He mixed sounds and ethics, meanings and beliefs in open, experimental ways without dogma. And so do [Ahmed]. They visit and (re)think his compositions and the process potential in them. They play the notes, but use them, and the ideas in and about them, as vehicles for their unique imaginations, instrumental approaches and ideas. Through his compositions they re-imagine and re-synthesize, moving from what they know into newly creative space. They imagine themselves into the future, free of the dogma, clichés and cloy neo-classicisms of current ‘improvised music’ and ‘free jazz’. ** Kelley, R.D.G. (2012) ‘Ahmed Abdul-Malik’s Islamic Experimentalism’ in Africa Speaks, America Answers: Modern Jazz in Revolutionary Times. Cambridge: Harvard University Press: 91-119 talks about this in his brief but fascinating study. --- Joel Grip / bass Antonin Gerbal / drums Pat Thomas / piano Seymour Wright / saxophone --- Recorded live at Hagenfesten in Dala-Floda, Sweden, August 6, 2016 by Arve Birkeland. Mixed at Studio206.de by Patrick Petzold Photography and design by Sven-Åke Johansson. Produced by Joel Grip and Seymour Wright. Sleeve notes by Robert Levin. 

أحمد Ahmed - New Jazz Imagination

After meticulous historical research and recording transcriptions, Pierre-Antoine Badaroux and his orchestra built a new repertoire based on the work of European musicians who discovered and took over jazz - specifically between (1925-1940). These tracks give us a take on the story of the birth of jazz in this new territory at a very special time, and brings to life a music that made history. "Compositions from USSR, Spain or Tchekoslovakia are to be discovered! And maybe, among many others, you will re- discover the swing touch from the British pianist Jack Hylton, the Belgian saxophonist Fud Candrix or Léo Vauchant the French and then Californian trombonist." "The talented and festive 14 musicians of UMLAUT BIG BAND, coming from the new jazz scene (ONJ) and/or from the European improvisation avant-garde (Peeping Tom, Zoor), gathered in 2011 to celebrate with its ecstatic audience the energy of the good ol’ swing bands." --- The Umlaut Big Band are: Pierre-Antoine Badaroux / direction and saxophone alto  Antonin-Tri Hoang / saxophone alto, clarinet Geoffroy Gesser / saxophone tenor and clarinet Jean Dousteyssier / saxophone tenor and clarinet Benjamin Dousteyssier / saxophone alto and baryton  Brice Pichard, Louis Laurain, Emil Strandberg / trumpet Fidel Fourneyron, Michaël Ballue, Nicolas Grymonprez / trombone Romain Vuillemin / guitarBruno Ruder / piano Sébastien Beliah / bass Antonin Gerbal / drums --- Recorded on the 23-27 February, 2015 at Le Luisant, Germigny-L’Exempt. Mixed and mastered by Ken Yoshida. Design by Sven-Åke Johansson et Dominique Hamot.

Umlaut Big Band - Euroswing No. 1