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REMINISZENZEN

by HUBERT BERGMANN

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    Hubert Bergmann, piano solo
    __________________________________________ 
    tracks  
    1) vor - zeit 3:45
    2) scarlattis dream 8:29
    3) hippolitis 3:15
    4) erics drunken dog 5:50
    5) where is I.S. 5:11
    6) sackenhack 4:05
    7) blue in green 8:38
    8) irregular regularity   6:52
    9) bley 4:59
    10) codex 5:24
    11) ode an 5:21
    12) giant sweps 6:28
    13) for paul 6:38
      total time 74:55

    Includes unlimited streaming of REMINISZENZEN via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.     ... more
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1.
vor - zeit 03:52
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2.
scarlattis dream 08:31
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3.
Hippolitis 03:18
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4.
Eric's drunken dog 05:53
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5.
where is I.S. 05:14
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6.
sackenhack 04:08
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7.
blue in green 08:38
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8.
irregular regularity 06:55
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9.
bley 04:59
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10.
codex 05:26
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11.
ode an 05:22
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12.
giant sweps 06:31
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13.
for paul 06:38
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about

Hubert Bergmann, piano solo
__________________________________________
mr-004-13136-Hubert Bergmann, piano, upc-barcode: 4038085101295, label: mudoks records, catalogue ID 13136, format: CD condition: new, release date: 2010-02-25 country: germany, packaging: Digi Pack 2 pannel with text german, english, french, recorded by: K. Schröder at Schwör Saal Ravensburg 1999-10-03  Germany • mastered by G. Monari, Massa Finalese Italy, artwork: Etyen Wery • Photo: J.P. Bauduin, Susanne Wehr, p+c: mudoks records • Werkstatt für improvisierte und neue Musik, All compositions by Hubert Bergmann GEMA except: *Org. Hackensack, music by Thelonius Monk (Bocu Music Limited). Bearbeitung: Hubert Bergmann **Blue in Green, Music and text: Miles Davis, (c) Jazz Horn Music c/o Sony/ATV music Publishing (Germany) GMBH. Bearbeitung: Hubert Bergmann ***Orig. Giant Steps, Music: John Coltrane (Jowcol Music Inc. / Island music ltd. Bearbeitung: Hubert Bergmann. Ode an is dedicated to C.P. Haan • p&© 2000

credits

released July 27, 2016

REMINISZENZEN
Hubert Bergmann, piano

HUBERT BERGMANN – Reminiszenzen

Hubert Bergmann is still too little known in regard to his improvisational lucidity and conscientious tackling of past issues of jazz pianism. Reminiszenzen, released in 2010, lasts 75 minutes; usually I consider this duration excessive (with the exclusion of minimalism and trance), yet the fruits of Bergmann’s imagination are equally juicy and delicate. His handling of the keyboard gives the idea of a gratifying multiplicity of meanings, fortunately lacking the insufferable sense of excitement-deflating sanctity typical of myths who extract a hundred of Euros from a viewer’s pocket in order for them to watch their presumed eroticism on the instrument (do I need to name mames? Yes, he’s the one I’m referring to). Even a pessimistic analyst like yours truly can’t help but rejoice when the ears are filled with music whose picturesque aspects are discarded in favour of a series of veritable soul-opening sessions. The dedications and influences are diverse – Satie to Scarlatti, Monk to Davis – and there’s space for each of them in the articulated propositions that the German presents to the listener. These itineraries are also informed by from-the-inside delicacies and well-mannered explanations interspersed with abrupt increases in the number of notes played and unpredictable dynamic variations: as a problem materializes, a solution is instantly found. This is how an erudite musician manages to throw intellectual cloaks away, appearing as a human aerial through which sounds from different eras resonate and propagate.
Oct 7 2011
Posted by Massimo Ricci | touchingextremes
about Massimo Richie

touchingextremes.wordpress.com/2011/10/07/hubert-bergmann-–-reminiszenzen/

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mudoks records Germany

[mudoks records, MUSIC OFF THE BEATEN TRACKS], documentation of improvised music, electroacoustic sounds, radio play, film. Recordings are snapshots of "changing circumstances" in which improvised music, such as lyrics can thrive as an expression of authentic life. Playing this always leads to a new way of looking at it, returning to the original of rhythm-sound and the meaning of speech. ... more

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