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Product number: INT 33812
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In our fast-moving times, one is often tempted to place too much importance on physical and tempo-ral position. This is as true in music as in anything else. Yesterday’s claim no longer holds true today, and will, in the best case, be in again tomorrow, when one has the feeling that one has to distance himself from another yesterday. And it is precisely those who claim to tear down mental walls, who often erect new geographical barriers. Many European Jazz musicians find it virtuous to distance themselves from American examples and attitudes toward playing. Another camp is dedicated to propagating the American tradition as authentically as possible in Europe. It is refreshing when such an album as “Home And Some Other Places” by the Cologne-based pianist, Florian Ross, arises out of this often embarrassing context.

Ross has already shown that he has mastered all kinds of Jazz formations, ranging from piano trios to Big Band. He recently even recorded as a “Hammond heavyweight” on Nils Wogram’s CD, “Daddy’s Bones”. His new CD was recorded as a quintet and includes Claus Stötter (flügelhorn), Matthias Er-lewein (tenor sax), Dietmar Fuhr (bass) and Stéphane Huchard (drums). Ross did not simply step over demarcation lines. In a playful manner he rekindles the spontaneous flair of classic Blue Note recordings and translates it into a contemporary language while completely avoiding Pop and Elec-tronic platitudes. He is thoroughly European as a conceptual thinker, but does not avoid contact with the Birthplace of Jazz. Strictly arranged parts are interspersed with teamwork. “We have reached a point”, Ross explains, “at which it is no longer necessary to politically separate America from the music. It is not important where you come from or where you are going, what you belong to and what not. The album’s three short tracks are completely improvised. We had a bit of time when we finished the recordings, so I suggested playing a few freely improvised pieces. The other pieces are composed and arranged.”

Ross’ musical structure is built on individual voices. The power with which he playfully leads his band is reminiscent of the magical force of McCoy Tyner in the Sixties. In Ross’ eyes the piano is not some etherealized means of making beautiful sounds that is constantly seeking the bridge to European clas-sics, but a percussive motor that produces pressure, friction and noise. “I didn’t want to make a “pi-anist” record, putting the piano in the forefront, relegating all the rest to ornamental decoration. The music has to be right, and everybody must make their contribution to that. It’s the big picture that counts. If the music is right and you can still hear that the pianist is making his contribution without being penetrating, then I have achieved my goal.”

Ross handpicked his companions. The personal tension in the music is the result of the decision to record with old, trusted friends and completely new partners. “I have known Matthias Erlewein for a long time. I definitely wanted him in the group. I got to know Claus Stötter over the years. Up till now, we have only played together in a larger orchestra and I wanted to work with him in a small group. I’ve been also playing with Dietmar Fuhr for quite a while, and it still comes across fresh. But I had never played with Stéphane Huchard until now. I was looking for a drummer that fit in this group. There were a number of options, but I wasn’t really satisfied with any of them. So I started asking around. Claus Stötter recommended Stéphane, who he had known from his time in Paris. He was also recommended by Remi Vignola, who plays bass in my trio. It was a bit risky. A lot of people said it was crazy to hire a drummer without knowing how he plays.”

But Ross melds into a single musical identity with Huchard. Ross’ light-touch percussive style and Huchard’s sensitive changes on the drums makes it difficult to separate the paths the instruments are following. But why not! The chemistry between them worked off the bat. “We had had only one rehearsal. We met in the studio, played the songs for the first time and then recorded them. Stéphane had a great time. Maybe it was luck, that he instantly took to the music, but we also understood each other personally very well. Meeting Stéphane was like winning the lottery. We will continue working together in the future.”

As the title already indicates, one of the things that makes this CD special is the accentuated play between contrasts, “Home & Some Other Places is brought to life by the unpredictable alternation of static and dynamic elements, intimate and open moments. “I didn’t want a tightly arranged and structured album, but it shouldn’t be obtrusively free either. It was more important to create a natu-ral balance between my various influences, motives and emotions. Soft-loud, straight-dissonant, that’s all a part of me. I didn’t want a slant to one side. The album should primarily reflect me.” The title refers to both internal and external places. The pianist’s explanation is so logical and simple, that it makes you wonder why the title hasn’t been used for thousands of other albums. “Home stands for that which you know, the tradition, the place where you have your roots, feel good and don’t en-counter unpleasant surprises. Some Other Place are where you haven’t been yet.”

“Home & Some Other Places” is an unadulterated declaration of love to Jazz, a music that was never really created, never at home in one place and which will never be perfected, and as such will never lose it’s cogency. Music in which Florian Ross finds security and by which he can feel challenged.

More Information

Title:
Florian Ross Quintet - Home & Some Other Place
Brand:
Intuition
Playing time:
N ′N ′′
Series:

Technical Details

Product number:
INT 33812
UPC:
750447338128
Weight:
0,06 kg

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