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Barbara Dennerlein-Outhipped
Artist: Barbara Dennerlein
Title: Outhipped
Label: Universal Jazz (Germany), Verve Records
Format: CD
Country: Europe
Released: Feb 8, 2000
Genre: Jazz
Styles: Hard Bop,Post-Bop
Source: Original CD
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http://www.amazon.com/gp/recsradio/radio/B00002DEOW/ref=pd_krex_dp_a
http://www.youtube.com/watch?v=vf4tbCRuvSk
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tracks list
1 Outhipped (Dennerlein) 05:29
2 Frog Dance (Dennerlein) 06:35
3 Odd Blues (Dennerlein) 05:19
4 Bloody Mary (Dennerlein) 06:23
5 Sweet Poison (Dennerlein) 06:36
6 Black And White (Dennerlein) 03:43
7 Mabuse (Dennerlein) 09:16
8 Strange Passion (Dennerlein) 05:16
9 Farewell To Old Friends (Dennerlein) 07:51
10 (I Can´t Get No) Satisfaction (Jagger/Richards) 05:24
11 In The Mud (Dennerlein) 10:36
12 Jammin´ (Dennerlein) 02:57
Personnel
Barbara Dennerlein
- hammond organ (all titles)
- footpedals (2, 3, 4, 5, 6, 9, 12)
- sythesizers (7, 11)
Don Alias - percussion (1, 2, 4, 5, 7, 8, 10, 11)
Ray Anderson
- trombone (2, 3, 4, 7, 8, 10)
- tuba (10)
Darren Barrett - trumpet (1, 4, 6, 9, 11)
James Genus - acoustic bass (1, 4, 7, 8, 10, 11)
Craig Handy
- tenor saxophone (1, 3, 4, 6, 9, 11)
- baritone saxophone (3, 4)
Antonio Hart
- soprano saxophone (1, 7)
- alto saxophone (3, 4, 10, 11)
Steve Nelson
- marimba (1)
- vibraphone (4, 5, 7)
Alex Sipiagin - flugelhorn (2, 5, 7, 8)
Steve Slagle
- flute (2, 3)
- altoflute, picoloflute (3)
Mitch Watkins - guitar (1, 2, 4, 6, 7, 8, 9, 10, 11, 12)
Jeff 'Tain' Watts - drums (all titles except 12)
Ada Dyer, André Smith - vocals (11)
Biography
Her CDs have won numerous awards, including the German Record Critics Award. Her CD "Take Off" (Verve/Universal) even reached number 1 in the jazz charts and was the best-selling German jazz album of the year. Barbara Dennerlein belongs to the small circle of German artists of international repute. On her recordings and in her concerts, she stands out as a member of a new generation of jazz musicians, and is regarded by her peers and her audiences alike as one of the leading representatives of her instrument, the legendary Hammond B3.
It is an awe-inspiring experience to watch Barbara live on stage. As the most important and most successful German jazz export, she is familiar with large international festival stages and intimate clubs alike. A list of venues where she has wowed audiences is as varied as it is long: the "Blue Note" and the "Sweet Basil" in New York, "Ronnie Scott's Club" and the "Jazz Café" in London and the "Blue Note" in Tokyo; Philadelphia, Berkley, San Jose, San Diego; the Montreal, Vancouver, Toronto, Edmonton, and Victoria jazz festivals; European festivals in The Hague, the North Sea Jazz Festival in the Netherlands, the Pori Jazz Festival in Finland, the Molde Jazz in Norway, the Arhus Jazz Festival in Denmark, the Maastricht-Kortrijk Festival in Belgium, the Vitoria Festival de Jazz in Spain, and German festivals in Berlin, Frankfurt, Leverkusen, Nuremberg, Vilshofen, Burghausen, Freiburg, Hamburg, Hanover and many others. Besides her nearly endless live performances, Barbara has made numerous appearances on both domestic and international radio and TV.
Both with her own "Bebab" group and solo, Barbara is equally celebrated by critics and audiences alike on both sides of the Atlantic. The name "Bebab" is a play on "Bebop" and "Barbara" and indicates something unique for which there is no established term, no pigeonhole. She knows the value of tradition but is also at home in modern jazz, in the here and now. She is one of the few musicians who can make the connection between different styles and audiences, building bridges between the musical past and present. She is just as familiar with the grooves of youth culture as with the listening experiences of a generation that grew up with the Hammond organ boom of the fifties.
Swing, bebop, blues, soul, latin and funk - for Barbara there are no rigid boundaries, only fluid transitions. Audiences are captivated by her talent, her absolute mastery of the instrument, her taste, and not least, her warm personality. The B3, it would seem, is a seamless extension of herself. She understands better than anyone how to exploit her instrument to the full, creating a sound and a musical style that is unmistakably "Barbara Dennerlein". Her brilliant technique has breathed new life into the venerable Hammond organ, an instrument long neglected in modern jazz. She can rightfully claim to have paved the way for the organ's current renaissance in jazz.
Born in Munich in 1964, she fell in love with one sound at an early age. While others were practicing "Für Elise" or strumming "All You Need Is Love" on the guitar, Barbara was fascinated by the sound of the Hammond organ.
She was eleven when the first home organ became part of the Dennerlein household. Her father, himself an organ fan, was acting a little bit out of self-interest when he bought the Christmas present. If Barbara lost interest, he could always play it himself! But it all turned out quite differently. Barbara never took her hands off the instrument again. And things didn't stop there either. The fourth instrument on which Barbara indulged in her passion was the "Holy Grail" of organs: an original Hammond long since out of production - the legendary Hammond B3.
And so began Barbara's own journey of discovery into the world of music. In addition to studying the classical repertoire of standards, she began to compose her own numbers very early on. Following first performances as a thirteen-year-old, she began to play in clubs at the age of fifteen. In the early eighties she was already celebrated as the "organ tornado from Munich". Later on, "Harper's Bazar" wondered: "How did this Fräulein get so funky?" and the Los Angeles Times headlined with: "German Organist Pumps You Up".
For years, Barbara has topped critics' polls in American jazz magazines and can call a worldwide community of devoted jazz friends her own. Yet through all this she has remained modest and uncomplicated, like the proverbial "girl next door", never failing to mention the support of her parents in interviews, and seeking emotional closeness to her audience as she takes them on a musical journey of discovery beyond the usual boundaries of fixed stylistic definitions. "To me", says Barbara,"jazz is a synonym for freedom. Freedom from prejudice and discrimination, freedom from constraints and convention. This is my own definition of jazz that I want to convey to the listener. Whether young or old, traditionalist or modernist, jazz fan or non-jazz fan."
Watching her perform, it is obvious that Barbara is a perfectionist, but clearly she is anything but a soulless technician. She attaches the greatest importance to musical integration in the collective. Her live bands play superbly together. Her CD productions feature hand-picked line-ups of prominent musicians versed in different styles; first rate musicians like Ray Anderson, Antonio Hart, Mitch Watkins, Randy Brecker, Jeff "Tain" Watts, David Murray, Howard Johnson, Frank Lacy, David Sanchez, Roy Hargrove, Bob Berg and Dennis Chambers.
Critical to her early success, was the support of respected record labels. Barbara's albums have been released by, among others, the prestigious labels Enja ("Straight Ahead", "Hot Stuff" and "That's Me") and more recently, Verve ("Take Off", "Junkanoo", and "Outhipped"). But early on, Barbara also established her own Label, Bebab Records, and has released numerous CDs over the years on Bebab as well.
To take the B3 beyond its traditional sound, Barbara combines her instrument with samplers and synthesizers using MIDI technology, which provides her with even more orchestral sounds. However, she never drifts off into some abstract musical science fiction but remains down-to-earth and groove-oriented. Despite her virtuosity, what matters to her most is intensity and communication with her musicians and her audience. Expressive ballads suit her just as well as high-speed escapades over the keys, or funky grooves. What's more, this energetic improviser also has made a name for herself with her own unmistakable compositions.
In 2001 Barbara set out in a new direction and released "Love Letters" on Bebab Records - a musical declaration of love with a multitude of emotions that gets under your skin and takes you on a journey into diverse musical worlds, and unique grooves and enthralling soundscapes. This was just another step in the development of an artist who never stands still and who continues to seek new challenges and directions in her music. This CD, recorded as a duo, is the result of many years of very intensive, creative collaboration with her drummer and percussionist.
In 2004 Barbara gave musical expression to her innermost thoughts and aspirations and captured these on a strikingly original and very personal CD. "In a Silent Mood" is a revealing and fascinating insight into her musical personality. Playing in her studio alone and free from interruptions or interference, Barbara really shines in this introspective solo CD performance. She augments the wonderful classic B3 sound with tasteful and subtle synthesizer and sampler sounds, all played "straight" with no studio tricks or overdubs.
If there is one thing that sets Barbara apart from all other Hammond B3 artists, it is her stunning bass pedal work that has to be seen to be believed. Listeners have often assumed she is accompanied by a bassist, but in reality those complex bass lines are Barbara's blindingly fast left foot. No one has even come close to matching her stunning bass pedal work! "The bass pedals are absolutely crucial to my way of playing the Hammond", says Barbara. "They enable me to develop a very special rhythmic structure which cannot easily be imitated by a bass player, because together with the two manuals I have a kind of rhythmic triptych at my disposal".
Intrigued by her first pipe organ concert at the Bach Days in Würzburg in 1994, Barbara began an intensive period of activity with the "queen of instruments", the mighty pipe organ. Thanks to her complete mastery of the pedals, Barbara managed to fully exploit the immense musical potential of the instrument, sometimes with works that she composed especially for it. The result was breathtaking, proving that the ponderous and sluggish instrument could really swing. Since then, Barbara has thrilled audiences on numerous great concert organs, such as the Dobson organ at the Verizon Hall at the Kimmel Center in Philadelphia, the Spreckels organ at Spreckel's Pavillion at Balboa Park in San Diego, the Gewandhaus organ in Leipzig, the Klais organ in the Munich Philharmonic, the Steinmeyer organ in the St Michaelis church in Hamburg, the Schuke organ in St Paul's church in Darmstadt, the von-Beckerath organ in the Hanover Market church, the Rieger organ in the Düsseldorf Neander church, and the organ at the famous Kaiser-Wilhelm-Gedächtnis church, a landmark in Berlin. The listener is carried off to new worlds of sound, a mixture of jazz in the widest sense and classical elements.
Equally unforgettable are the unique concerts with legendary pianist Friedrich Gulda together with Barbara on the Hammond organ in such renowned concert halls as the Philharmonic Orchestras of Cologne and Munich, the Brucknerhaus Linz, the Concert Hall and Musikverein in Vienna, the Kunstverein in Bregenz, the Tonhalle in Zurich and at the Viennese Festival Weeks. Gulda used his full musical genius to create a symbiosis of classical music and jazz beyond all limitations of style or genre. Barbara, who was a great friend of Friedrich Gulda's, takes the same approach to music in her work.
Long awaited by fans, Barbara's album "Spiritual Movement No.1" (Bebab 250970) was released in 2002, recorded for the first time exclusively on the pipe organ. A jazz passion for 2,400 pipes, recorded on the mighty Goll organ in St. Martin's church/Memmingen - Barbara Dennerlein has now finally brought jazz on the pipe organ to the world.
In recent years, Barbara has become increasingly in demand for TV performances. A notable example is on New Year's Eve 2000, when she presented 24 hours of jazz on the German 3sat TV network, taking her viewers on a musical journey right into 2001. On June 14th, 2007, she dazzled viewers on the Harald Schmidt show (Germany's equivalent of America's David Letterman Show). Harald's one-word response at the end of one piece was a shouted "Wow!"
Part of Barbara's appeal is that she is a passionate, charming musician, who always asks: "Do you like jazz? What is the meaning of jazz for you?" For herself, and this is what endears her to her audience, jazz is anything but a one-dimensional affair. "My music is as varied as my emotions or the world I live in, which influences and inspires me. One style or one direction would only express one small part of my musical world."
On her latest Duo-format CD "Barbara Dennerlein Duo - It's Magic" (2005) features the tight interaction between organist and drummer, live in concert, full of charm and humour. Barbara is really at her best in live performances, and this CD will certainly make new fans, even those who may be somewhat sceptical when it comes to the music form known as "jazz".
Recently, Barbara has set out in yet another new direction, releasing her new CD "Change of Pace" (2007) also on Bebab Records. This recording of exclusively her compositions is a collaboration between Barbara on B3 with saxophone and drums, and a full symphony orchestra: the State Philharmonic Orchestra of Rhineland-Palatinate, under the direction of the internationally renowned conductor Bernd Ruf. This remarkable CD unites the classic Hammond Trio -including Barbara's breathtaking footpedal bass- with full symphonic orchestra to spectacular effect.
As a long awaited encore to her critically acclaimed "Spiritual Movement No.1" CD, Barbara has just released in October 2008, her latest CD "Spiritual Movement No.2" (Bebab 250974) that takes jazz on the mighty pipe organ to a level never before heard. On this spectacular live recording, Barbara plays jazz compositions -mostly her own- on the massive Schuke pipe organ, in the world famous Emperor William Memorial Church in Berlin. For those that still cannot believe it's possible to make this 4-manual, 5000 pipe monster really swing, a few minutes spent listening to her ultra-cool version of "Satisfaction" will soon convince them otherwise. Only Barbara could take a tired old war horse like "Satisfaction" and breathe life (and funk!) into it on an instrument most people associate only with church music!
Whether playing on B3 or on pipe organ; whether playing solo, or in duo, trio, quartet, quintet, or even with full orchestra backup, Barbara Dennerlein is in a class of her own; she is without question the First Lady of the organ.
review
Outhipped, Dennerlein's third release on Verve, highlights her mature musical personality and imaginative, virtuousic technique. The 11 original tracks complete a self-portrait full of nuances that display her not only as a brilliant composer, but also an equally-accomplished musician. "For me, composing is what being a musician is all about. It's a medium in which I can express my own identity, personality, and ideas."
On Outhipped, there is a palpable atmosphere of the spontaneity and inspiration shared in the studio. A fine example of this is "Bloody Mary," a rousing, funky number, featuring alto saxophonist Antonio Hart. The title track, in 7/8 time, features Craig Handy on tenor sax and Mitch Watkins on guitar staging a solo battle that is brought to a close by Steve Nelson's wonderful marimba solo. Handy again sets the tone on "Farewell To Old Friends," a sad and emotional tune that Dennerlein composed as a final goodbye to two recently departed friends. "Sweet Poison" is an intense ballad of astonishing beauty showcasing the soulful flugelhorn musings of Alex Sipiagin.
Composed as a suite in five movements, "Mabuse" is a musical re-telling of the 1922 Fritz Lang film of the same. During the piece, Dennerlein displays her compositional talents with complex harmonies that develop into a magical, ominous scenario. Dennerlein's haunting solo recalls a scene from the film in which Dr. Mabuse vents his madness on a church organ, with clusters and dissonant "dirty notes." Guitarist Watkins delivers swift solo runs, Ray Anderson contributes fiery trombone passages, and the piece concludes with Hart's lamenting soprano sax.
For the first time in her career, Dennerlein brought vocalists into the studio to contribute background vocals to the song "In The Mud." The added texture gives this pulsating, funky number an extremely charming '60s touch. Also looking to another era for inspiration, Dennerlein chose the Rolling Stone's "Satisfaction" as the album's only cover song. Her original rendition takes listeners on a journey into the history of black dance music, beginning in the style of a New Orleans marching band with Anderson on tuba, before segueing into a bone-dry funky groove with James Genus' acoustic bass. The next phase incorporates a jazzy 6/8 rhythm, shifting to a swinging shuffle beat with furious improvisations that recall the wilder dance-hall origins of jazz.
The ensemble feeling and interplay between the musicians on Outhipped are thrilling to hear, and clearly Dennerlein's closest ally on this recording is drummer Jeff "Tain" Watts. He grooves, funks, and swings with unsurpassed yet subtle presence, following the leader's playing intuitively.
On Outhipped, Barbara Dennerlein showcases her tremendous talent and unmistakable style. This energetic musical journey is one of pure listening enjoyment, unusual and thrilling, inviting one to stop, listen, and dance! |
