halfpipe | Open Curtain ; front cover

Halfpipe | Open Curtain | Mudoks Record

halfpipe are: Alexander Bergmann – alto sax, Samuel Hack – alto sax, Julian Seyfried – cello, Ekkehard Bay – cello, Joe Eschrich – drums, Phil Nylund – piano, Hubert Bergmann – piano

Tracklist: 1.papcorn 2. weit weg 3. hot cat 4. buddha pop 5. grasshopping 6. at work 7. ober grund 8. onky donkey 9. the man behind the forum romanum 10. moersern 11. jazzbazz 12. flickflack 13. du oh trio 14. the time between g.s. and f.r. | Total time: 65:45

Recording Date June 2008 | Engineer: Hubert Bergmann | Mastering: Mudoks Studios | Photos and art work: N. Rissmann

The ensemble “halfpipe”

consists of five Überlinger young people who improvise already free since for years now with Hubert Bergmann as a coach. The “Suite for Charles Mingus” by Bergmann, the ensemble brought in the new situation, to work with notes. Bergmann has given individual building blocks that alternate with free improvisation. These two things are important: the players must master all their instruments completely. And the communication must agree. And both were given. Frequent eye contact, breathing together and clear operations allowed a grandiose interplay. “Halfpipe managed” just that: a great and diverse mix of clear structure and the freedom of each individual player. —Susanne Pantel | Südkurier

“When you play a note very long, it will be great. He becomes so big that you can hear more harmonies, and he gets bigger inside. The sound envelops you. ” —Giacinto Scelsi

These words of the unusual Italian composer Giacinto Scelsi are created to describe the process of “becoming bigger with and in the music.”

A handful of children on the way to all aspects of their sound. So you can call a company to confront young people with new and improvised music, so that they can do in this rather unusual profession her musical experience. Other hand, the most original field from which they just develop and will hopefully grow even more. The unbiased natural play with the possibilities that the moment offers. Similar to the “Godfather” of this recording Giacinto Scelsi, the young people draw from the reservoir which feeds them from the improvisation making it reflective tho their vocabulary to apply and further develop awareness.

Scelsi which creates a large number of his compositions through the use of improvisation, the “instant composing” to cust the music then into sheet music abused rather the symbols of the sound. They seemed rather suspicious enough of his philosophy of life all living harden too much, as the “Spirit of Music” is not actually mapped. He saw himself rather than a “Medium” to bring the sound in a “earthly” form. To help, he took it inter alia the tape, which was thus ultimately to the score, the “documentor” from him played music of sensible results. He was pre-goers and developer of a working method that we use today as natural.

“The man behind the Forum Romanum,” and “the time between g.s. and f.r. reflect “the way of scelian music which invites each of us through the timeless gesture of the standing and micro-tonality to the” being here”. The fact that after all, this is not everything what halfpipe has to offer, but music has also to do very with time, rhythm, sound and emotion do you hear on this multistylistic CD. Echoes of certain forms of jazz as well as on rock and experimental music. We wish you much joy. — Hubert Bergmann


CD version (incl. shipment cost world-wide)

€ 17.00
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MP3 version (94.62MB zip download)

€ 9.00
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One thought on “Halfpipe | Open Curtain | Mudoks Record

  1. Open Curtain steht im Zeichen von Giacinto Scelsi und folgt ihm in der Vorstellung, nur Medien zu sein, die Klänge in eine irdische Form bringen, ins Innere der Töne. Beides sind Stationen in einer längst nicht abgeschlossenen Entwicklung.

    Den Jungs gelingen Steinzeitsamba und Dschungelklimbim, noch ohne Angst vor schrägen Tönen, holprigen Beats und wackeligem Tempo. Das Cellogekratze ist herrlich katzenartig, Bermann jun. übernimmt von den väterlichen Anregungen die Courage zum Many Things Go, einen frühreifen Ton hat er eh schon drauf im scratch-orchestralen Plink meets Plonk in einem Bermudadreieck aus New, Now und No.

    Die Ambition geht dahin, dem Formlosen nicht die nächstliegende Form zu geben, sondern eine möglichst abenteuerlustige – Stichwort: Dschungel. Andererseits gibt es schon eine Tendenz über bloß kindliches Malen mit Tönen hinaus, nicht nur bei den Vater-Sohn-Trios mit Cello & Percussion.

    Open Curtain zeigt ein gewachsenes Selbst-Bewusstsein und jazziges Knowhow der nun 14-jährigen, bis hin zu für Buben untypisch leisen Stücken (‚Buddha Pop‘), aber auch ekaltierter Vokalisation frisch von der unschuldigen Nylund-Leber weg (‚Moersern‘).

    Ich fresse meine Kappe, wenn etwa ‚Atlantic‘ oder ‚Halfepipe‘ schon von der ersten oder das wie geträumte ‚The Man Behind the Forum Romanum‘ von der natürlich geübteren zweiten Scheibe nicht einen Blindfoldtest von Paris Transatlantic-Experten als ‚etwas Erwachsenes‘ bestünden.

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