on life, music etc beyond mainstream

2022 1 Dez

Niklas Wandts unverbindliche Liste seiner Top 12 2022

von: Manafonistas Filed under: Blog | TB | 2 Comments

Jacob Garchik – Assembly



Straff swingende Jams, die plötzlich von orchestralen Sätzen oder geräuschigen Einschüben umgekrempelt werden – Jacob Garchik schafft mit einfachen Kniffen von Overdubbing und Postproduktion ein verblüffendes Werk der Kontraste, der Überlagerungen, der parallelen Ebenen, ebenso im Postbop wie in zeitgenössischer komponierter Musik verwurzelt. Faszinierend dichtes und facettenreiches Hörerlebnis. Garchik hinterlässt übrigens auch als Sideman auf Mary Halvorsons „Amaryllis“ einen bleibenden Eindruck!


William Parker – Universal Tonality
Mary Halvorson – Amaryllis 
Benedicte Maurseth – Hárr
Yui Onodera – Too Ne
Tyshawn Sorey Trio – Mesmerism
Tomas Fujiwara Triple Double – March
Koma Saxo ft Sofia Jernberg – Koma West
Fazer – Plex
Sarah Davachi – Two Sisters
Alexander Hawkins Mirror Cannon – Break a vase


This entry was posted on Donnerstag, 1. Dezember 2022 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.


  1. Michael Engelbrecht:

    Niklas Wandt folgte mir nach in den Radionächten der Klanghorizonte. Nachdem all diese Nächte nun Geschichte sind, teilen sich Niklas, Thomas Loewner und ich sechs sicher hochspannende Ausgaben der Klanghorizonte anno 2023 untereinander auf, jeweils alle zwei Monate am jeweils dritten Donnerstag. Von 21.05 bis 22.00 Uhr.

    Thomas im Januar
    Michael Im März
    Niklas im Mai
    Thomas im Juli
    Michael im September
    Niklas im November

    Ich sammle schon meine Kandidaten, und halte ein Ende Januar ein bei ECM erscheinendes Zauberwerk in Händen, ein tatsächlich eher altersradikales als altersmildes Spätwerk von Stefan Micus, sein 25. Album, den Göttern des Donners gewidmet, mit dem Titel THUNDER. Wenn es Thomas mir nicht wegschnappt, mein erstes gesetztes Album.

  2. Henning Bolte:

    Mit einigen davon könnte ich für Wochenende auf Insel, vor allem mit Hawkins, Hawkins, Hawkins!

    Hier mein Besprechungstext im Rahmen der EUROPE JAZZ MEDIA CHART

    Henning Bolte, Written in Music (Netherlands)
    ALEXANDER HAWKINS MIRROR CANON: Break A Vase (Intakt Records CD) Bandcamp

    The newest album of ubiquitous pianist Alexander Hawkins (1981) from UK has a lot to offer. Titles as “Faint Making Stones” (coming from the poem “Sound” of great poet Robert Creeley) and “Chaplin in Slow Motion” (coming from Eduardo Galeano’s book “Football in Sun and Shadow” and referring to ultimate soccer magician Manuel dos Santos aka Garrincha) appeal already strongly to the imagination. It is Hawkin’s sixth album on Intakt since 2017 and a follow-up to his duo-album Soul in Plain Sight with German saxophonista Angelika Niescier (1970). Break A Vase is a fully joyful affair brought into reality by a great line-up comprising two percussionists, Stephen Davis on drum set and Richard Olátúndé Baker on African percussion, Neil Charles on double bass and acoustic bass guitar, Otto Fischer on electric guitar and Shabaka Hutchings, reeds and flute – a sextet with a programmatic name and, next to the literary references, Bach+Braxton as a deep source of inspiration. Listeners fond of variate high dynamics with exhilarating turns as and well as listeners fond of sophisticated tricky rhythmical patterns and great flow will fully and satisfactorily be served. The music is an expedition into a wonderland of sophisticatedly layered, crossing and offset rhythms, an expedition into dragging, limping, waddling, lurching, jerking, sauntering, hovering, roaming ways of motion – a great range of gaits. Admittedly absent: the parading on the catwalk, the changing of the guards and the drunken sailors’ loops of stumbling. But, of course it is not a catalogue but a musically motivated route in ten pieces taken here by means of rich and colorful orchestrations in fully flourishing flow based on, triggered by well-structured molds and unfolding along a clearly lighted line where rhythm and melody intertwine. It shows dynamic alternation of high flying and crumbling down, moments of thrilling overturning and sudden hazing, playful combination of clocking exactness, crossfading flurrying parts and destabilizing escapes into equilibrium. It is Hawkins’ passionate game with the interlocking combinatorics of canons that generates evocative resonants beyond and above the lines played so vividly rushing by the musicians here. As an outstanding characteristic of this work counts that it is a well thought-out distillate from the experiences a vast number of different live performances during the recent over-regulated irregular period. In this many-sided process for example piece 10 “Even the Birds Stop to Listen” is based on a commission by Nadin Deventer (Jazzfest Berlin) devised as “Sunnosphere” by Hawkins and Siska, Matthew Wright and Shabaka Hutchins, and ultimately realized live by Siska, Nick Dunston and Lina Allemano in Berlin. It also turns out that Hawkins is able to skillfully apply means when those are demanded, make sense and fit in as the subliminal electronics in the striking “Stamped Down, or Shovelled”. To answer the big question if and how Bach-architecture and lush Braxtonian labyrinthine sprouting can cross-fertilize through these musicians, you should immerse into the music – on your headphones or even better, hopefully live soon at a vibrant site.

    Und dann natürlich auch auf MANAFONISTAS

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