Cansu Tanrıkulu – Voice (TUR)
Declan Forde – Piano (UK)
James Banner – Bass/Composition (UK)
Max Andrzejewski – Drums (DE)
With USINE, British bass player and composer James Banner brings together a collection of European improvisors - all well-established in their own right - to create a sometimes homogenous, sometimes disparate sound-world. The inspiration comes via composed themes based on reworked improvisations, multi-lingual texts that are song, spoken and screamed, as well as the ever-changing world of literature, art, and politics in the twentieth and twenty-first centuries. At the core of USINE, the golden thread of the composed runs alongside improvisational freedom, with an appreciation of both the rich history of acoustic jazz music and a recognition of the value that each individual musician and their unique geographical and cultural experience brings to the table. These 13 tracks create an environment in which these six friends and voices from Berlin’s rich improvised music scene can shine, at the same time fusing them into one single USINE.
“James Banner’s USINE is 45 minutes of unobvious and unpredictable music, created thanks to artists connected by an invisible but at the same time noticeable thread of unbounded agreement” – Robert Ratajczak [LongPlay]
“intense and dramatic…gentle and beautiful… an album characteristic of today’s contemporary jazz with the mixture of structure and freedom, full of drama and strong soloing… occasionally quite challenging…” – Tony Dudley-Evans [Programme Advisor for Jazzlines/Cheltenham Jazz Festival, Europe Jazz Network/Jazz Promotion Network]
“not everyone wants to pick a side… James Banner… revels in both the avant-garde and the swing… a musical balancing act” – Martin Böttcher [Deutschlandfunk Kultur]
James Banner schafft mit USINE (frz.: Fabrik) eine manchmal homogene, manchmal durchaus auch disparate Klangwelt. James sagt: „Die Inspiration innerhalb des Projekts entsteht durch die spannenden Wechselwirkungen zwischen komponierten Themen, strukturierten oder auch freien Improvisationen, dazu mehrsprachigen Texten – gesungen, gesprochen oder auch geschrieen – immer im gemeinsamen Diskurs über die sich ständig verändernde Welt der Literatur, Kunst und Politik des zwanzigsten und einundzwanzigsten Jahrhunderts.” Das künstlerische Zentrum von USINE als KlangFABRIK bildet ein integrativer goldener Faden, der komponierte Strukturen mit der sich immer wieder neu definierenden Freiheit innerhalb der Improvisationen verbindet und dabei die Geschichte der Jazztradition keineswegs unterschlägt.
,,James Banner’s USINE ist 45 Minuten überraschender und unvorhersehbarer Musik, die dank Künstlern entstanden ist, die durch einen unsichtbaren aber gleichzeitig spürbaren Faden von unbegrenzter Übereinstimmung miteinander verbunden sind” – Robert Ratajczak [LongPlay]
“Gefühlstief und dramatisch… zart und schön… voller Drama und stark improvisation… gelegentlich ziemlich herausfordernd…” – Tony Dudley-Evans [Europe Jazz Network / Intendant des Cheltenham Jazz Festival bis 2015]
,,James Banner… taucht den Avantgarde zusammenhängen genauso auf wie in der swing Gruppe .. ein musikalischen Spagat” – Martin Böttcher [Deutschlandfunk Kultur]
James Banner was born in Dudley, England and is now based in Berlin and the UK, working around Europe as a musician, composer and educator. His main project James Banner’s USINE has received support from both the Berlin State and Initiative Musik. As a composer he received the prestigious Elsa Neumann Stipendium in 2018 from the Berlin University of the Arts/HfM Hanns Eisler, supporting the ambitious project Voices of Berlin, interviewing residents of Berlin and reflecting their stories through music for improvising choir and ensemble. James has been featured in portraits by Der Tagesspiegel and Deutschlandfunk Kultur, and was recently selected to be a part of Making Music’s Adopt A Composer scheme, composing the collaborative piece Concertino For Concert Band with premiere performances in late 2019 and a BBC Radio 3 broadcast in 2020. James is a Lecturer at Leeds College of Music, composer in residence for Make The Paint Dance, and workshop leader for Jazzlines at Symphony Hall Birmingham, and active as a co-leader and sideman in projects in the jazz and improvised music scenes of Berlin, also regularly being selected to take part in collaborative projects further afield such as Fish and Chips at Leipziger Jazztage 2018 and Jazz Alloy at the Vortex, London.
Declan Forde is a pianist originally from Glasgow, Scotland, and based in Berlin since 2014. He is mainly active playing freely improvised music and traditional / Early Jazz. Forde has performed with Greg Cohen, John Hollenbeck, Tobias Delius, Max Andrzejewski, Cansu Tanrikulu, Rudi Mahal, Jan Roder, Michael Griener, James Banner and Fabiana Striffler. Since 2016 Forde has been playing in the project 'Unknown Ellington' and exploring the less played repertoire from the Ellington / Strayhorn songbook with bassist Greg Cohen (Ornette Coleman, John Zorn, Woody Allen, etc.). The duo performed at the Glasgow International Jazz Festival in 2017 and continues to perform frequently in Berlin. Beyond the world of jazz and improvised music, Forde has performed, toured and recorded for over ten years with the Scottish singer and artist Rachel Sermanni.
Cansu Tanrıkulu is a singing multi-media artist and composer working both as a leader and sideman. She is one of the busiest young voices in Berlin’s Creative Music Scene leading/co-leading multiple bands including Melez (w. Jim Black & Elias Stemeseder), Meow! (w. Jim Black, Liz Kosack & Dan Peter Sunderland) , Tanrıkulu/Cohen/Delius (w. Greg Cohen & Tobias Delius) and Last Chance to Misbehave (w. Julia Hülsmann & Mia Knop Jacobsen). Her elastic singing, wide stylistic vocabulary and fearless approach to melody and text based improvisation made her an in-demand vocalist in multiple genres. She performed in renowned platforms of Europe including Jazzfestival Saalfelden 2019 with Meow!, 42. Leipziger Jazztage “Fish & Chips” and Enjoy Jazz Festival with Max Andrzejewski’ HÜTTE, Belgrade Jazz Festival 2018 with Julia Hülsmann’s Oktet and stages including Birmingham Symphony Hall with James Banner’s USINE. With her compositions she has received the chance to perform in festivals including Kurt Weill Festival 2017 and got supported by the Berlin Senate. She also recently received the Jazz Institute Berlin-Jazz-Preis der Karl Hofer Gesselschaft for Soloist.
„Max Andrzejewski is a musical Perpetuum mobile, whose energy already pleases half the german scene, and soon could fire up half Europe. A spontanious composer on the drums, whose inventiveness knows no borders.“ (Wolf Kampmann, jazz journalist, author of the Reclam Jazz Lexikon)
His energetic musical work between Jazz, Rock, Improvised Music and contemporary composition brings him all over Germany and the world, and appears on numerous albums like Traumton, Act, Pirouet, Wizmar, Unit, Jazzhaus, NWog, WhyPlayJazz. In 2009 he moved from Cologne to Berlin to finish his studies at Jazzinstitut Berlin in 2011. He is established as an integral part of the interdisciplinary Berlin scene. His own band HÜTTE won one of the biggest German Jazz Prices, the Neuer Deutscher Jazzpreis 2013, and on top of it, Max also won the Soloist Price. The latest HÜTTE album, which includes a five piece choir, was supported by a composition scholarship of Senat Berlin and was released on Traumton in 2014. His new album "HÜTTE and The Homegrown Organic Gospel Choir" is released in April 2017 on Whyplayjazz and features music for HÜTTE plus a 13piece choir. His other main projects are the bands Expressway Sketches und PRANKE. Max is composer too. He works e.g. with Ersan Mondtag for Thalia Theater Hamburg, Maxim Gorki Theater Berlin, Schauspiel Frankfurt, Staatstheater Kasse. In 2010 he won the competition „Convento Jazzpreis“ with the Cologne based band Ebene Null.
Location:
Zig Zag Jazz Club GmbH
Hauptstr. 89, 12159 Berlin
Beginn 21:15 Uhr( Einlass 20:00 Uhr)
Eintritt frei – Beitrag erwünscht
ENTRANCE FEES
One of the reasons that makes the zig zag jazz club so unique is that it is the first and only jazz club in the world that manages to finance world class events through a crowd funding concept. How do we do it? Its quite simple… during the break of the concert we make an announcement regarding the collection for the evening. For most concerts (excluding the jam session) we inform our customers that a fee of around 15€ per person will allow us to fairly compensate the musicians. Some people give more and some give less… and that´s ok… we ´ve already successfully promoted hundreds of concerts like this!!!
EINTRITT
Einer der Gründe, die den Zig Zag Jazzclub so einzigartig machen, ist, dass er der erste und einzige Jazzclub der Welt ist, dem es gelingt nur durch freiwilligem Eintritt/Crowdfunding Events von Weltklasse zu finanzieren. Und wie machen wir das? Ganz einfach. Während der Konzertpause geben wir bekannt, dass wir Geld einsammeln werden. Bei den meisten Konzerten (außer Jam Sessions) informieren wir unsere Kunden, dass ein Beitrag von ungefähr 15 Euro es uns erlaubt die Musiker gerecht zu bezahlen. Manche geben dabei mehr und andere weniger... und das ist auch in Ordnung. Wir haben auf diese Weise schon Hunderte Konzerte organisiert.