ruben giannotti_jazz orchestra - fragment
Philipp Gerschlauer - Sopran-, Altsaxophon, Flöte
Eldar Tsalikov - Altsaxophon, Klarinette, Flöte
Peter Ehwald - Tenorsaxophon, Klarinette
Finn Wiesner - Tenorsaxophon, Klarinette, Flöte
Tini Thomsen - Baritonsaxophon, Bassklarinette
Tobias Weidinger - Trompete, Flügelhorn
Nicolas Boysen - Trompete, Flügelhorn
Johannes Böhmer - Trompete, Flügelhorn
Florian Menzel - Trompete, Flügelhorn
Simon Harrer - Posaune
Janning Trumann - Posaune
Johannes Lauer - Posaune
Felix Konradt - Bassposaune
Maria Baptist - Klavier, Rhodes
Attila Muehl - Gitarre
Matthias Eichhorn - Bass
Fabian Rösch - Schlagzeug
Ruben Giannotti - Elektronik, Trompete
Das hochkarätig besetzte Ensemble wurde 2019 von Ruben Giannotti ins Leben gerufen. Im Zentrum der Debut-Produktion steht die fragment Suite für Big Band, in der sich der Komponist intensiv mit Perspektivwechseln und der Beziehung zwischen der elektronischen und händischen instrumentalen Tonerzeugung beschäftigt hat. Das Resultat ist ein organisches Gemenge aus klassischen Big-Band-Topoi, Beats, Samples und generativen Automaten, die sich in jeder Schicht entfalten und nicht eineindeutig auf bestimmte Bereiche beschränkt werden.Buy album
ruben giannotti_jazz orchestra - fragment - album review by Cosmo Scharmer
Rhythmically accentuated, the theme slowly emerges. A straight rocking beat provides the basis for the fulminant winds, which ensnare the theme as insistently as subtly with their interlaced movements, even wrap it up. Sharp wind entries, a continuous beat from drums and bass, and alternations between thematic sections and the solos (alto, trombone) characterize this fragment.
The 2nd track is even more rhythmically accentuated than its predecessor: a beat that runs through, kept simple. A trumpet solo sounds above it, lyrical and balladic it forms the contrast to the simple rock figure. The piece lives from its contrasts. A voluminous solo of the bass clarinet achieves empathetic warmth, sets musical counterpoints to the tight rhythmic basis. The winds enter this field of tension, balance it harmonically and mediate between the poles of tension. Immensely entertaining.
The 3rd fragment also uses percussion and bass sparingly. The added winds blow full-bodied into the theme, creating a filigree complexity, while an electric piano tries to fight against it with electric gimmicks. The winds soar into the high registers, setting pointed pinpricks into the action. The trombone solo enlivens the lower frequencies, creates jazzy grounding, provides the necessary emotionality of the whole. Woodwinds and brass cannot leave it alone. They always interfere, jostle between theme and solo, can't get enough of their numerous entries. Every now and then a dark voice speaks up that doesn't want to talk, but only to say something.
It starts with a solo of the trumpet. Cautiously other splashes of color are added, it remains in a calm mood, a compact ensemble sound full of tranquility. In contrast, the pianist Maria Baptist strikes the keys, gives rhythm and theme. Now all the other voices want to be part of it, group sound a la big band, slightly oblique and mischievous, collective unfolding of the individual timbres - associations with the bizarre Willem Breuker Kollektief come to mind - same humor, fine irony, same musical esprit. Then the solo of the piano, which confidently intervenes in the action, with Monk's mischievousness in the neck, but more profound, it becomes steadily more oblique .... until the wind instruments bring the crooked musical track back into balance. There's that voice from offstage again....
The clarinet starts thematically, drums and bass follow, now more swinging, more drive. The solo of the clarinet acts here as a counterpoint, dazzling dabs, unrestrained, uninhibited. The rest of the orchestra keeps swinging, classic big band sound. The solo of the guitar pushes into these sounds, driving and insisting until the wind instruments set the tone again with their merciless entries, they run out of steam and the piece is allowed to fade out. That's contemporary big band sound!
Carried upbeat of the band, condensation of all voices. Individual saxophone voices emerge from this dense silence. The soprano takes the solo, starts quietly, restrained, then gets plenty of space and time for its improvisations to unfold. This is occasionally supported by the other wind instruments. Carefully also the drums, yes nothing smash ... a soulful mood spreads in this ballad, in which the solo of the trumpet paints its colors. The soprano still has many ideas in its body, all wanting to get out. So does the whole band, which embellishes this ballad with its voices. Again, the horn. What was good and expensive for the sax solo is right and cheap for the brass. And only the whole orchestra. But the title is allowed to end with soft guitar sounds.
All the sequences that characterize the previous titles can be found here as well. Theme, brass sections, solo voices - here tenor sax - and everything crisscrossed and from the front, only to the left. The restrained beat of the opening bars comes swinging casually, only to fade into the background again soon after to let the solo voices have their space. A very conducive to the group sound playing of drums and bass. The winds then provide the finale of the title again, condensing the theme, driving it energetically to the top, only to let it gently slip away. In short: Ruben Giannotti's Jazz Orchestra contains everything that characterizes excellent contemporary big band sound.