multiple pulse – a tribute to Alice Coltrane

16,00 

Music is a multiple pulse that everybody experiences differently and it is a statement that speaks a different language every day. Mysteriously shimmering and fading like Polar lights. To play jazz means to stand up for freedom without a parachute or a safety net, a musical statement of tolerance and openness, beyond all limits of our regulated world. That’s Why we are. In this piece I take Alice Coltrane as an example.

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Alice Coltrane died on the 12th of January 2007. In the last formations of her husband John Coltrane she played the piano. Her death affected me very much, but at the same time I was inspired to once again deal intensively with her music.

With the death of Alice Coltrane a non-conformist spirit departed this life, a spirit that is almost irreplaceable. In the 1970s she crossed the clear male line of the art of improvisation through her very personal, non-conformist and feminine way of playing. She introduced the harp and developed the overall concept of jazz further.

Three compositions from the diversity of her pieces are especially dear to my heart, three pieces that to me signify a kind of essence of her music – powerful, melancholic, sensitive, but also with some humour as her composition Los Caballos, which is based on three different horse paces, illustrates. In Multiple Pulse I present this selection and my own compositions that I developed under the effect of Alice Coltrane’s music. I personally dedicate the first piece In Pulse to Alice Coltrane.

Music is a multiple pulse that everybody experiences differently and it is a statement that speaks a different language every day. Mysteriously shimmering and fading like Polar lights. To play jazz means to stand up for freedom without a parachute or a safety net, a musical statement of tolerance and openness, beyond all limits of our regulated world. That’s Why we are. In this piece I take Alice Coltrane as an example.

At the time of her death the news spoke of 2.000 American and 300.000 Iraqi war casualties. In my composition 2:300 I give this tragedy a musical voice.

My special gratitude in the course of these recordings go to the cellist Maria Magdalena Wiesmaier. The instruments cello and saxophone are the ones closest to the human voice and I have always been fascinated by the combination of both. I am very happy that Maria lent her “voice“ to my ensemble for the compositions Requiem and Polar lights.

Stephan-Max Wirth is considered one of the top saxophonists in international jazz. With his “robust tone, which gets under your skin” (Der Spiegel), he’s proved himself over the years at all the important festivals. Wirth doesn’t re-create; he creates anew. “He immerses himself deeply in the story and then lands perfectly in the moment” (Jazzthing). His projects and interpretations enjoy the highest regard from press and public alike, win awards and receive great praise. Stephan-Max Wirth is “a great asset not just for jazz, but for the entire cultural landscape” (Jazzpodium). Lastly, as Titel Magazin puts it; “Wirth is considered a brilliant composer and saxophonist in the contemporary jazz scene; a great musician“.

Stephan-Max Wirth was born in 1968. He was already a jazz enthusiast in his early years and took his first saxaphone lessons with Leszek Zadlo in Munich. He moved to Cologne in 1995 having finished his studies under Jörg Kaufmann at the School of Arts in Arnhem (NL). From here as bandleader he organised international tournees for his own ensemble which he had formed in 1992. The tenor saxophonist and composer has been living and working in Berlin since 1999.

Stephan-Max Wirth was commissioned to compose various works for theater ( incl. Studiobühne Cologne) and continued to work intensely on his own projects. In order to keep his artistic talent independent and uncompromising he founded his own label BOS.REC. in 1993. Using this label and through innovative projects he has been able to support other jazz artists like Henning Wolter, Marcus Schinkel and the Cologne group “Leisure Minx”.

Many of Stephan-Max Wirth’s compositions have been adapted for Bigbands by the Cologne music arranger Thomas Forkert. The arrangement of “fish and monkey” profited greatly from this and is now part of the permanent repertoire of over 200 Bigbands in the whole of the German speaking area.

In 2004 Stephan-Max Wirth and his Ensemble released the album “Illumination” which won high praise from the press. In this program he combined, as a premier, throat singing and modern jazz within his compositions and so doing created an extraordinary and varied sound structure, raising him above the many superficially arranged “multi-kulti” projects prominent over the last years. He received the Berlin Senats Studiosponsership prize for this album.

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