on music beyond mainstream


2014 12 Dez


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Was Anders Jormin mit einem Bass macht, machen kann … Töne in die Luft malen
und dann noch mit Jon Christensen, Paul Motian, Bobo Stenson, Kenny Wheeler, Charles Lloyd, Sinikka Langeland und …
dürfte kein Ohr zu und keine Seele kalt lassen … in Ruhe zu hören


  1. Soapstone – Anders Jormin – In winds, in lights.
  2. 11th of January – Bobo Stenson Trio – War Orphans.
  3. Rowan – Bobo Stenson Trio – Good Bye.
  4. My New Hat (K. Wheeler) – Kenny Wheeler – It Takes Two.
  5. Sul tasto – Anders Jormin – Xieji.
  6. Sudan (P. Motian) – Bobo Stenson Trio – Good Bye.
  7. War Orphans (O. Coleman) – Anders Jormin – Xieji.
  8. Choral – Anders Jormin – Xieji.
  9. Pilgrimage to the Mountain – Charles Lloyd – Notes From Big Sur.
  10. Saltstein (S. Langeland) – Sinikka Langeland – Starflowers.
  11. Takur – Charles Lloyd – Notes From Big Sur.
  12. T. – Bobo Stenson Trio – Serenity.
  13. Limestone – Anders Jormin – In winds, in lights.

At Svullrya, Finnskogen, Norway, 2011

2014 11 Dez


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After last week’s wonderful, magical concert-tour in The Netherlands
with Thomas Morgan and Joey Baron …
get ready for GEFION

GEFION featuring Thomas Morgan & Jon Christensen.

It will be out on ECM Records the following dates in 2015:
6th of February – Denmark & Germany
9th of February – United Kingdom
3rd of March – USA


music from different angles, different genders, different places, flowing …
Dec 9 …… * B J * ……

Dec 10 …… * L R T * ……

(k)ein Rätsel


The Red Hill Interzone is where the colors dwell, warm black, inner white, amber, sea green, safety orange, dissolve, sungloves, Lord Blue throat … The Red Hill Interzone is where the sounds of The Red Hill Orchestra linger, the entry point, the gate, uncountable small actions, sleeping warriors, up and down, now that I have a human body … The Red Hill Interzone is where the Red Hill Orchestra is sounding, where the ears are wandering, where the soul is wondering.



Red Hill interzone


“Jozef Dumoulin’s Red Hill Orchestra is a remarkable and without doubt unique musical entity. It makes use of a great variety of sources, but the music you get to hear enters an until yet unknown door. There is nothing comparable to it. Maybe only a vague association with early collaborations of Bill Frisell with Lee Konitz.


Dumoulin makes use of various forms of delay as well as the blurring and flooding effects the Rhodes provides, contrasted with the pointed sounds it also can produce. At a closer look (or listening) it appears to have quite mystical sonic qualities that distinguishes it from present digital electronics (and also from older synthesizers). Dumoulin explored the musical possibilities of these sound qualities on a recent Rhodes solo album on the Bee Jazz label and teamed up with Eskelin and Weiss for further travels into these new territories. The threesome could be experienced during the Strasbourg Festival as well as on the just released album Trust on the French Yolk label.


It is miraculous how Dumoulin’s way of using and playing the Rhodes changes the perception of the acoustic instruments, the tenor saxophone and the drum set. Their acoustic qualities surprisingly come much more to the fore on the recording. It also happened during the live performance at the Pôle Sud Theatre in Strasbourg. The music ranged from dreamy to steamy and always had an estranged, almost surrealistic vibe: fascinating great music from


the Red Hill interzone! Dumoulin, Eskelin, and Weiss are a marvellous orchestral team on this sonic travel between the known and the unknown. In Strasbourg the threesome succeeded to engross the audience in its remarkable liaison of clarity and fogginess. It also succeeded in perpetuating the fascination and curiosity about how the known and unknown relate to each other in the sounds. It deserved and got an encore for the musicians’ return to the outside world.”


All About Jazz, december 2/2014


Jozef Dumoulin – A Fender Rhodes Solo. BEE JAZZ RECORDS

Jozef Dumoulin & The Red Hill Orchestra – Trust. YOLK


All photos ©FoBo_HenningBolte


Obertönen mit Unterton. Noch nie gemacht? Einfach mal ausprobieren, ist toll!
HIER Demonstration


music from different angles, different genders, different places, flowing …
Dec 6 IZU



Photo credit 1,3 ©FoBo_HenningBolte

2014 5 Dez

The Pleasure

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of live music tonight again

just wonderful music

2014 3 Dez

Freifluss Adventskalender

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Music from different angles, different genders, different places, flowing through the air



Photo VINTERHYMNE © Ziga Koritnik

2014 28 Nov


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n o c t u r n a l a l l e y


Rays of Darkness is the first MONO album in 15 years to feature no orchestral instruments whatsoever. That fact alone is remarkable given the band’s reputation for sweeping, dramatic instrumentals that recall Oscar-worthy film scores. Instead, Rays of Darkness more closely resembles a jet engine taking off inside a small, crowded auditorium. It is MONO’s blackest album ever, a collection of scorched riffs, doom rhythms, and an unexpected contribution from post-hardcore pioneer Tetsu Fukagawa of Envy. The album ends with the smoldering wreckage of distorted guitars and ominous drones playing out a eulogy to the days when MONO shot blinding rays of light through seemingly endless darkness.”

(Selbstcharakterisierung mit hohem Zutreffendheitsgrad)

MONO site

The Last Dawn is the first of these two companion albums, and is the “lighter” of the two, thematically and melodically. It contains undoubtedly some of MONO’s strongest songs ever, drawing on an array of influences from minimalist film score to vintage shoegaze. It is MONO at their absolute purest, executing an uncanny, unspoken dialogue with each other without the dozens of stringed instruments that have been so prominent throughout their catalog. The songs are also noticeably more efficient – there hasn’t been a MONO full-length record to fit on a single slab of vinyl since 2003’s One Step More And You Die – and the album benefits immeasurably from this streamlined approach. MONO have always been masters of telling compelling without words. But now they’ve proven they can do it without frills, too.”

Takaakira Goto (electric guitar, glockenspiel)
Hideki Suematsu (electric guitar, glockenspiel)
Tamaki Kunishi (bass guitar, electric guitar, piano, glockenspiel)
Yasunori Takada (drum kit, glockenspiel, synthesizer)

MONO coming MONO coming, MONO again, againg, aagaiingg

13/12 BERLIN
14/12 KÖLN

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