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Barbara Dennerlein:
Change Of Pace
| Label |
Bebab 250973 |
| recorded |
June 2005 live at the Philharmonie in Essen/Germany |
| online distribution |
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| Barbara Dennerlein |
Hammond B-3organ, synthesizers |
| Peter Lehel |
tenor sax, soprano sax |
| Daniel Messina |
drums, percussion |
| Staatsphilharmonie Rheinland-Pfalz |
c/ Bernd Ruf |
01: Longing
02: A Summer Day
03: Pendel der Zeit
04: Change Of Pace
05: The Long Way Blues
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Imagine the contrasts of these two musical bodies: on the one hand the jazz trio which lives from
the improvisation, from spontaneous creativity, on the other hand the orchestra which follows written
compositions, fixed by the composer. Barbara Dennerlein who developped this project does not see this
contrast irreconcilable, on the contrary. She derives the project from the fact that she has approached
the cosmos of classical music by playing on the church organ, as she says herself. The organ sounds like
and offers a variety like a small orchestra. Barbara Dennerlein has composed complex pieces like
"Change of Pace" and "Pendel der Zeit" ("pendulum of time") which she has played on the pipe organ. But
she saw a greater aim, the realization of their compositions by a much bigger musical body, which ensures
a richness of colours and dynamics. Barbara Dennerlein wants to create something new, something of a
characteristic content by means of the encounter of her way of jazz with a symphonic orchestra. Her organ,
a Hammond B-3 organ, can be seen as a small orchestra. The arrangements, created by Peter Lehel, consequently
follow Dennerlein's instructions for the organ, transferring them for the instruments of the orchestra.
Without any doubt, the really difficult task lies in letting the musicians "swing and groove with each other",
in the meaning of a feeling, not of a style. A great part has to be done by the conductor who takes care of
the difficult synchronisation between the free improvisations of the soloists and the orchestra.
It is fascinating in which way the jazz trio and the orchestra achieves a real musical integration. Barbara
Dennerlein shows a great sensibility for structures and sounds which corresponds in a wonderful way with
the orchestra or its solo groups. Daniel Messina at the drums offers pulsating grooves and interesting
percussion sounds. The difficult part of the arrangements is excellently mastered by Peter Lehel who
contributes also as a sensitive sax player. And to mention last but not least: Bernd Ruf, the conductor,
who conducts with a passion and an engagement seldom seen with a conductor of classical music.
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