Nils Wogram MUSE Sendesaal Bremen скачать в хорошем качестве

Nils Wogram MUSE Sendesaal Bremen

This video features a recording studio session of Nils Wogram`s Muse Quartet at Sendesaaal Bremen. Their album Muse was awarded album of the year by the German Jazzprice, Deutscher Jazzpreis 2022. The music of the Muse Quartet is mostly calm and atmospheric and features Nils Wogram on Trombone, and composition, Kathrin Pechlof on Harp, Gareth Lubbe on Viola, Overtone singing, and Hayden Chisholm Alto Sax. This recording session is a coproduction with the Swiss Radio SRF. The video was filmed by Beat Halberschmidt from Berta Berlin. You will hear well-structured Jazz compositions with an open mind and many musical surprises. The ensemble has a unique ban sound which is captured terrifically in the historic amazing sounding Sendesaal Bremen which is considered to be one of the world's best-sounding rooms in the world. For example, pianist Alfred Brendel recorded many of his albums here. This video has no cuts or editing and gives an authentic impression of how the band sounds and what Nils Wogram`s music is about in this setting. It is quite different from other band projects of Nils Wogram and more crossover-like. Excerpts from a text by Wolf Kampmann All or nothing! No half-measures! Where routine weariness becomes noticeable in the careers of many other artists, one sense that every new project trombonist Nils Wogram takes on is his very first one. But why start from scratch once again with a completely new band when Wogram has achieved everything a jazz musician can ever achieve with working bands such as Root 70, Nostalgia, or the Vertigo Trombone Quartet as well as alongside Aki Takase, Simon Nabatov, Bojan Z, Michel Portal, and many others? The answer is as simple as it is complex: because Nils Wogram simply can’t help but give in to his instinctive artistic curiosity and look at what is waiting for him over the horizon, regardless of everything he has achieved, And so everything on Muse is actually completely different than what one is used to from Nils Wogram and his musical environment. The only constant remains Hayden Chisholm, a musician who has unreservedly shared the trombonist’s obsessions for decades and who always gives him a bit of support, not only musically but also, above all, as a human being – despite Wogram’s willingness to take risks. Nils Wogram's music has always been characterized by a great sensuality. While he has celebrated the sensuality of the moment in almost all his projects so far, the sensuality of the lasting comes to the fore on Muse. Lingering in this form plays a major role in the chamber-musical feel of this constellation. The warm sounds sometimes recall the portraits of Amadeo Modigliani, images that have frozen into still lifes. To stay in the picture, the album’s compositions can be visualized not so much as a leaf moving jauntily in a spontaneous gust of wind, but rather as a vase that graces a room in its once-created form and plays with light. “There are improvised passages on Muse as well,” Wogram notes, “but they are much less influenced by jazz, a characteristic that, of course, is very much up to the protagonists. When composing, I already knew with whom I would make the music and where their strengths lay. I brought that into harmony with my musical ideas. Only the future will show the extent to which these musical forms are permanently fixed or will develop further. I don’t know at the moment.” How could you? With this CD, the Muse project is only just beginning. This laid-back openness to all the possibilities – ones that can arise from what has just begun – is also easily transferred to the listener. The music may be complex, but its immanent beauty and friendliness, for all its formal rigor, is also enormously relaxing for the listener. Muse is a quiet album. Every note counts. Sound is a crucial component. “A priority for me was to allow this quiet, sensual music to happen without questioning, from the outset, whether it would work in the form of a CD or live performance,” Wogram says. “I just like that aesthetic. But it can only work if I implement it consistently. Consistency for me is directly related to clarity. Music with a strong mood always releases strong emotions.” In Muse, the constellations and transformations in the compositions are as diverse as the incidence of light at different times of the day. The individual sounds interpenetrate each other with such transparency that it is not always possible to say exactly if this is a harp or viola, or where the multiphonics on the trombone begins and where Lubbe’s overtone singing ends? Chisholm’s saxophone runs through these sonic light shows like a spirit that continually mediates between physicality and foreboding. The harp –a very quiet instrument on whose level all other sound sources must or may engage – provides the timbre.