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Musician

Theo Jorgensmann

Born:

Jörgensmann was born in 1948 in the town of Bottrop in the Western Rhur industrial region of Germany. His work with the 'Bottrop Sextet' reveals that he continues to retain great affection for the town where he grew up. In the middle of the sixties he worked as a laboratory technician in a chemical laboratory. He started to play clarinet at the age of 18, taking private lessons from a music teacher at Folkwang Academy of Music in Essen. His dedication to the clarinet as his only instrument was only briefly interrupted during a 15 month spell doing National Service, when he was asked to play soprano saxophone for the Army dance band. After the phase in the German Army, Jörgensmann worked with handicapped children and studied several of semesters social pedagogics and computer science. Theo Jörgensmann is one of the most advanced modern free improvisers on his instrument, combining moody chamber jazz with hints of a modal hard bop sensibility. The distinctive tonal quality of Jörgenmann’s playing owes something to his choice of clarinet. Many of his albums, available on hatOLOGY, were recorded using a straight basset clarinet in Bb, made by Harald Hüyng, a pupil of the great Herbert Wurlitzer. This clarinet, although an Oehler System, would have some essential similarities to that played by Stadler when playing the Mozart Clarinet Concerto in the 1780’s. It has extended keywork to enable an additional D and C at the bottom of its range. In 2008, however, Jörgensmann switched from his basset clarinet in Bb to a Low G clarinet, built by another pupil of Herbert Wurlitzer, Wolfgand Dietz. The special sound of his playing arises from the fact that Jörgensmann blows with less pressing of the teeth. As a result, he can play other phrasing and accents, as it is usually possible on the clarinet. It is thus more closely related with the 'hard bop' saxophonists. Jörgensmann made his first appearance at a major event as a member of the 'Contact Trio' with {{Michael Jüllich=56888}} at the 1972 Frankfurt Jazz Festival. During this period he began working with local musicians. He didn't become a professional musician until 1975. In the early 1970's Jörgensmann played in a Jazz Rock group which included the keyboard player {{Hendrik Schaper}} (later a member of {{Klaus Doldinger=6335}} and {{Udo Lindenberg}}) and the drummer {{Udo Dahmen}}. At this time he used electronic effects pedals, such as fuzz, wah-wah and chorus. Probably he was one of the first clarinetists which electronically distorted their instrument. But by 1975 when he formed the clarinet ensemble, 'Clarinet Contrast', he was interested in the pure acoustic sound of his instrument. 'Clarinet Contrast' included {{Bernd Konrad = 8465}}, {{Hans Kumpf}} and {{Michel Pilz = 10309}} as well as one of the musicians Jörgensmann had most admired when he first began playing clarinet, {{Perry Robinson = 10767}}. In 1975 he also founded his first Quartet, which end of the seventies was one of the most successful jazz bands in Germany. In 1977 the 'Theo Jörgensmann Quartet' performed as German representative at the festival of the European Broadcasting Union in Hilversum, Netherlands. Jörgensmann's exclusive focus on the clarinet has led him to form a succession of partnerships with other clarinet players and because of its commitment to the clarinet he was part of the Renaissance in the jazz and improvised music scene. In 1979 the influential European producer and music journalist, {{Joachim-Ernst Berendt}} helped Jörgensmann call together the members of the 'Clarinet Summit'. This was an all-star clarinet group with soloists: {{John Carter = 5578}}, {{Perry Robinson = 10767}}, Theo Jörgensmann, {{Ernst Ludwig Petrowsky = 10259}} and {{Gianluigi Trovesi = 10909}}. John Carter and Theo Jörgensmann met each other at the Moers Jazz Festival in 1979. There they performed solo and as a duo on three days. {{Eckard Koltermann}} is another clarinetist who Jörgensmann has collaborated with on many occasions. As well as working together as the 'German Clarinet Duo' , in the mid 1980's they were both regular members of the clarinet ensemble CL 4, along with {{Lajos Dudas = 17437}}, {{Dieter Kühr}}, {{Eckard Koltermann}} and {{Gerald Doecke}}. By no means are all Jörgensmann's collaborations with clarinet players. As a young musician Jörgensmann also favoured to work in larger ensembles or duos. So he was member in the big bands of {{Andrea Centazzo= 15428}}, {{Willem van Manen}}, {{ Michael Sell - Composer}} , {{Franz Koglmann= 8447}} and the 'Grubenklangorchester' and he also performed as a duo with pianist John Fischer from US, Dutch guitarist {{Jan Kuiper =56915}}, German pianist {{Bernd Köppen = 56479}}, German poet Oskar Ansull, French bass clarinetist {{Denis Colin= 23580}}, German actor Bernt Hahn, German church organist Hans-Günther Wauer, Swiss pianist Daniel Ott, German performer {{Limpe Fuchs}} and Hungarian pianist {{Karoly Binder = 56718}}, with whom he recorded meanwhile 4 duo CDs. Jörgensmann is active as an improvisation theorist. He is convinced that improvised music is the most modern kind of music, since it has created a completely new kind of musician, an integral musician, who is conductor, composer and performer at the same time. „To find the right balance between communication of motion and non- communication is the major part of improvised music; that communication of motion as a part of interaction in music is an opportunity to create a new structure of time, which the listener could perceive as a new kind of musical space; that the idea of jazz does not depend on a specific material and special form; that the essential aspect of jazz is the fact that jazz musicians discovered the fourth dimension of time in music.“ Together with the musicologist and musician Rolf-Dieter Weyer, Jörgensmann wrote a philosophical book about improvisation "Kleine Ethik der Improvisation". As a lecturer Jörgensmann taught improvisation and clarinet at University of Duisburg between 1983 and 1993. At the same time, he hosted a radio program on jazz at West German Broadcasting. And from 1993 until 1997 he was a lecturer for free improvising at Music Therapeutics Institute of Witten/Herdecke University. Several of his recordings on the HatHut / hatOLOGY label are with the Theo Jörgensmann Quartet which consists of Theo Jörgensmann on clarinet, {{m: Christopher Dell = 40167}} on vibes, {{m: Christian Ramond = 31328}} on double bass and {{Klaus Kugel = 2933}} on drums. The quartet performed with {{Lee Konitz = 8463}} at the Muenster Jazz Festival 1999. Another regular partner has been {{Kent Carter = 11814}}, working together on the 'Theo Jörgensmann Workshop Sextet' ({{Charlie Mariano = 9072}}, {{Petras Vysaiauskas}}, Theo Jörgensmann, {{Karl Berger = 4931}}, {{Klaus Kugel = 2933}}, {{Kent Carter = 11814}}), as well as the 'Vysniauskas - Jorgensmann Quintet': ({{Petras Vysniauskas = 15461}}, Theo Jorgensmann, {{Andreas Willers = 14607}}, {{Kent Carter = 11814}}. {{Klaus Kugel = 2933}}) and the {{m: Riviere Composers' Pool = 103445}}.

Musician

Kakafoni

Born:

Pianist and composer Pelle Eriksson is the driving force behind the project Kakafoni. In the early 2000s, he got the idea to bring together melodic jazz, pop structures, improvisation, samples and loops and consolidate this into a whole. The band found its present form some years later and the first album was released in January 2013.
Some words about Kakafoni: “This is melodic jazz that takes long beautiful paths, often processed in different shapes… “– Ulf Johansson, GP “Beautiful “ 4/5 – Mattias Gustavsson, IKON ”Levitating beautiful melodious jazz” – Lennart Lundberg, Allehanda “The dirtiness in sounds and samples gives an extra dimension, especially when they play so tight and focused together

Musician

Mike Casey

Born:

Saxophonist, songwriter, and teaching artist Mike Casey has been a fixture on the Hartford jazz scene and beyond since 2011, when he began attending the acclaimed Jackie McLean Institute of Jazz at the University of Harford’s Hartt School. In 2015, Mike was one of 24 young jazz composers worldwide chosen by Jason Moran to participate in the prestigious “Betty Carter Jazz Ahead” Program at the Kennedy Center in Washington, DC where he studied with an all-star faculty including Eric Harland, JD Allen, Eric Revis, Cyrus Chestnut, and Jason Moran. After a sold out NYC debut at the Minton’s in Harlem in September 2016, Mike went on to accomplish an incredible feat: the crowdfunding campaign for his debut album "The Sound of Surprise: Live at The Side Door" (due for a February 2017 release) reached 111% funded in under 30 days

Musician

Erik Borelius

Born:

Erik Borelius, guitar-player, singer and composer, has worked professionally with music since 1986. During these 34 years he has released thirteen albums, eleven through his own company and two during his time at EMI. In 1994 Erik received a Swedish Grammy for the album “SexTioTvå” – the best instrumental album in 1993 and the first recorded under Erik’s own label EB Music. The following year he was nominated with the album “Duende”. Erik’s music is often described as a peculiar blend of styles and as a guitar player he is praised for using his outstanding technique in a tasteful manner. In 1984 Erik sent a demo to EMI

Musician

Tal Arditi

Born:

Tal Arditi (born in 1998) Guitarist and composer from Israel. Recognised as a young guitar prodigy , Tal started to study in the prestige ”Jazz institute” program, by ”Rimon Music University” when he was only 16. in the age of 18, he graduated from ”Rimon” sucsessfully with a Jazz Diploma, and decided to move to Berlin. In Berlin he quickly became one of the most wanted players in the local and international Jazz scene, and started to play regularly in clubs and festivals all over Europe. In 2017 he was a finalist in ”Conad Jazz Competition” and preformed in ”Umbria Jazz Festival” With his one trio. In June 2018 , Tal has been chosen to participate in the prestige jazz programme ”Betty Carter Jazz Ahead” in Washington DC. in February 2018, Tal recorded his debut album ”Portrait”, live at ”A-Trane” jazz club, together with Andreas Lang on Bass and Tobias Backhuse on Drums. The idea behind the name ”Portrait” is, That the concert in ”A-Trane” was a portrait of Tal’s life until that point


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