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New Releases On Between The Lines Records

Gebhard Ullmann Basement Research: Hat And Shoes


Gebhard Ullmann celebrates twenty years of his band Basement Research with a striking new CD Hat and Shoes to be released February 10, 2015 on Between the Lines. Featuring the renowned multi-instrumentalist Ullmann, trombonist Steve Swell, saxophonist Julian Argüelles, bassist Pascal Niggenkemper, and drummer Gerald Cleaver, the band’s 7th CD showcases improvisors at the top of their game and Ullmann’s rich, dynamic compositions. This is Ullmann’s 50th CD as a leader/co-leader.

Basement Research’s first album – featuring Ullmann with Ellery Eskelin, Drew Gress and Phil Haynes – was released in 1995 on the Italian label Soul Note. Many albums later and following careful changes in the line-up, the consistency of the research project is still clearly detectable: discovering the basis of improvised music, the mechanism of musical dialog, the search for previously unheard sounds and the secret of nonverbal, intuitive communication between individuals. This only works live and in real time. It is not a matter of chance that all previous six albums by Basement Research were released in connection with or as the result of a tour.

VÖ-Datum: January 2015
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Homepage: www.gebhard-ullmann.com

Reto Suhner - Fabian M. Mueller: Schattenspiel


Two people, two instruments. Sound aesthetics developed jointly over the years. Dialogs with depth, improvisations with strong melodies and breathtaking building up of tension. What Reto Suhner and Fabian M. Mueller develop in free communication is of ecstatic beauty. They find hidden paths with uncanny instinct through the jungle of improvisation, feel their way playfully through harmonic sequences and even make discoveries in minimalistic or noisy passages. This common base has developed over many years, and the time has finally come to document this extremely fruitful duet work. In their respective working bands (Reto Suhner Quartett and FM Trio) of many years, both dedicate themselves to the limits of the composed and the improvised. As a duet, they go into a free fall of inspiration and impulses of the moment. That could end with a hard landing, but not with Mueller and Suhner. Their playing is not without prerequisites, but instead is based on solid training, mature playing technique, years of playing in practice and a generous dose of curiosity. As a result, the music grows wings and the free fall ends in blissful floating.

Releasedate: November 2014
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Homepage: www.retosuhner.com/

Scott Fields String Feartet: Mostly Stick


One year after "Kintsugi" (BTLCHR 71235) and shortly after the double CD "Haydn" (BTLCHR 71237), a third CD by the Scott Fields String Feartet is being released on Between The Lines. Contrary to its direct predecessor, there is no explicit reference to classical composers anymore. Scott Fields' guitar also takes up more space, even though it is a special feature of "Feartet" that the ensemble playing is in the foreground. Despite all specifications with respect to the compositions and detailed arrangements, the leeway for improvising can be heard in all instruments all the time. Freely created lines of individual musicians cross almost unnoticed with the composed parts. Fields succeeds in creating a perfect symbiosis of both parts such as is seldom heard. The "master juggler between improvised jazz and new music" (jazzpodium, May 2014) presents six "comprovisation" on Mostly Stick, from which the majority also easily surpass the 10-minute limit. He titles them again with subtle humor: "Carolina Reaper" refers to the hottest chilli variety in the world, "Hello to Jason Isaacs" refers to the British actor who became know through Harry Potter films and "Schmatta" is a word from Yiddish which means "rags" (in the sense of inferior clothes) that has entered everyday speech in the USA.

Releasedate: October 2014
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Scott Fields String Feartet: Haydn


The “Haydn” music is not first time that Scott Fields has used classical material as source material. He composed a similar project 10 years ago for choreographer Li Chiao-Ping’s "Bach Project", which was based on the six suites for cello by Johann Sebastian Bach (BWV 1007-1012). Using this experience, Fields explains, "I began my assault on the Sun Quartets. The object was to make a new work while preserving Haydn’s DNA." In this radical revision and reinterpretation, the traditional performance mode of classical music is really shaken up. Variations in performances of classical music stem from nuances of different interpretations of written-down material, whether as true to the original as possible or modernized or somewhere in between.

Releasedate: August 2014
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Yitzhak Yedid: Visions, Fantasies And Dances - music for string quartet


Yitzhak Yedid has released eight recordings at Between the Lines in 10 years. All of them reflect more than just the various influences on his work. He was born as the child of Jewish Syrian immigrants in Jerusalem in 1971 and molded by numerous visits to synagogues and the Sephardic music tradition cultivated there. Following studies in Jerusalem, he continued them in Boston under jazz greats Ran Blake and Paul Bley. Of course, he studied classical and contemporary composers intensively such as Béla Bartok, György Ligeti, Arnold Schönberg, and many more. However, he also names John Zorn as a source of inspiration and the recollection of the Arab-influenced music of his childhood and adolescence. He lives and teaches in Australia in the meantime, but often returns to his homeland. He is one of the most important contemporary composers and interpreters of music in Israel, to which his numerous prizes and distinctions give proof.

"Visions, Fantasies and Dances" now puts a special quality of Yitzhak Yedid´s in the foreground: his compositions. They have been the starting point of his activity for many years; the interpretation of works by others was always subordinate. But he previously always played himself on piano, regardless of whether solo or in a trio, quartet or quintet. This time he composed a piece for a string quartet without piano accompaniment. It is composed of seven parts, which in turn are composed of 34 small gems. He uses various techniques in the structure: at times elements in a series, then microtonal elements, makes references to the sounds of religious and suggests Arabic influences – and then we have it again: Yedid's ability to let music "speak" and tell stories with tones. The stories recount his life history, that of his fellow humans and the interrelations, in which they spend their daily lives. Molded by various and yet so closely related religious traditions, everyday life between walls and barbed wire where there wild parties anyway, and then violent confrontations and suicide attacks, from which almost every family has victims to lament in the meantime. The classical composition techniques do not suffice to depict all of that. However, Yedid can draw from an almost inexhaustible pool all the way to various improvisation techniques, which put high demands on classical ensembles. It is not just a question of playing a composition, but instead of also understanding which worlds of thought and experience as well as convictions have guided the composer and which story he wants to tell.

Releasedate: February 2014
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