Very much looking forward to Tom Glagow’s brand new Jazz radio show launching on December 26th, 2013 at 10 p.m. Inaugural playlist sounds promising in terms of this becoming a first class programme to be added to my list of internet stations I enjoy listening to. Much success!
The spirit of Christmas according to Native Instruments: Check out these holiday give aways – but for a limited time only! Can’t wait to hear Supercharger work on some of my material!High-octane Holidays | Specials.
Who would have thought that Bayerischer Hof Nightclub turns into a Lower Manhattan-type Jazz club on a random Tuesday night? But Michael Nitsch and his band of brilliant collaborators on the band stand made exactly that happen with natural ease and verve.
We had saved the date for weeks looking forward to Michael Nitsch presenting his recently released CD “Time“, which he masterminds as a leader while having the finest music talent of the “Northernmost Italian city” in the South of Germany collaborate on the album.
Opening the set with the first cut from the album, “Dawn“, the band set the tone right away for what was to become a state-of-the-art concert that confirms Bayerischer Hof Nightclub as one of the leading contemporary Jazz venues of the world. While Nitsch on lead guitar and Götz Grünberg on tenor saxophone wove a light-hearted mid-tempo theme, Patrick Scales on bass and Guido May on drums had a rock solid four-on-the-floor groove with a funky edge going from bar one, cleverly interspersed with off- and counterbeat accents, thus providing the rich rhythmic, dependable tapestry the soloists could break away from. And speaking of solos: While each of the collaborating performers proved their reputation as a-list talent being on promoters’, booking agents’ and studio owners’ speed dial, they even grew beyond their already impressive performances on the album, clearly enjoying themselves that night and bursting at the seams with energy and raw joy of performing!
“Freedom“, the second tune on the album and on the setlist, opened on a sophisticated, funky slapped bass theme exquisitely delivered by Patrick Scales and joined in on by the band after four bars, going into a Fusion-informed main theme seasoned with some (Blues-) Rock guitar riffs that speak of the diverse music foundation Michael Nitsch is inspired by. With “Dawn” leaning towards mid- to uptempo, Freedom sported a more laid back, “pumping” beat that highlighted Scales’ and May’s “in the pocket” playing, impressively revealing their longstanding musical companionship as a highly sought after rhythm section.
Further exploring Nitsch’s musical influences, “Uncle Jack” took us right into the era of outstanding Bluesrock “stringslingers” the likes of which Nitsch so authentically channels through his guitar playing, while leaving his own personal signature on each of these styles. The intro to this tune gave Tino Derado one of his many shining moments that night by having him open the song on eight bars of improvising on an alterated turnaround chord progression sitting on top of a swung rhythm with a shuffle feel to it. Again, Scales’ and May’s playing fit like hand-in-glove as you’d expect of a well-versed and thoroughly experienced rhythm section.
The band closed out the first set on the title track “Time“, a contemplative Jazz ballad demonstrating the breadth and depths of musical interpretation of each of the artists, particularly so with May’s delicate handling of the brushes as well as Grünberg’s precise command of the reed.
Having listened to the incredible drum solo Guido May delivered on “They Will Return“, which sees the bass line accompany May’s most sophisticated offbeats and polyrhythmic kick and snare drum hits all throughout, one might have wondered what rendition of this challenging part of the cut they might come up with in a live setting. It was refreshing to see them throw in well-calculated fermatas on the one to keep the time of the song, thus most cleverly also keeping the audience’s attention firmly focussed on the drummer.
In order to relax a bit from this high energy tune with plenty of masterful soloing going on, Overberg, a composition contributed by Götz Grünberg, took us to calmer waters of the Jazz ocean tempowise, featuring Grünberg with a superbly structured, tension building solo channelling an influence most sax players will inevitably have to mention as a formative one: John Coltrane. Dynamics, tone, most refined musical expression are the qualities that need to be attributed to all band members and which became obvious in the most extraordinary way again during Grünberg’s solo.
Followers of Michael Nitsch’s Facebook profile will have noticed a number of inspirational posts drawing on the history of Native Americans. One might infer that the title “Wounded Knee” was at least in part informed by this stretch of early U.S. history and it starts on a chord progression delivered with a wah-wah guitar, thus adding another flavor to the mix of styles and episodes of music history. It wasn’t hard to see the band’s leader thoroughly enjoy himself while blasting out a whaling guitar solo that effortlessly connected Fusion with straight Rock and all the way back again.
Mousie is the closing track on the album and it marked the end of the second set that night as well, reiterating a straight Bluesrock informed chord progression and the shuffle feel typical of that genre, which certainly is Michael Nitsch’s musical forte.
Undeterred by some audience leaving after the second set in order to get an early start during a typical work week, the band performed a scintillating third set well after midnight, playing original Nitsch compositions as well as tunes by his and his band members’ musical role models, the likes of whom span Miles Davis, John Coltrane, Robben Ford to name just a few.
What better way is there to turn an otherwise slow Tuesday night into a memorable evening than by treating oneself to a show packed to the brim with music talent, tasteful delivery and inclined listeners who really appreciate what they’re seeing and listening to? I can’t think of a better option. Kudos to the band, the venue and – the audience for keeping refined music a defining aspect of our culture.
©W. Nieke, Oct. 2013
With many accomplishments and star-studded musical collaborations under his belt at a still very young age, German-Irish guitar talent Torsten Goods comes into his own with his latest release “Love Comes to Town“, produced by Nils Landgren and featuring – amongst other big names – Wolfgang Haffner on drums, Till Brönner on trumpet and Christian von Kaphengst on bass. The album is comprised of some well-known all time classics and hit songs (e.g. from the American Songbook), a Rock cover and Torsten’s original material. An excellent blend of music, talent and producing. Don’t miss it! German tour kicks off on September 13th, at Unterfahrt Munich
Appearing here on my blog with a little delay, but thus can serve as a reminder.
New MASCHINE Expansion delivers the straight-up, energized sound of tech house to MASCHINE and MASCHINE MIKRO
Berlin, July 18, 2013 – Native Instruments today released STATIC FRICTION – a new MASCHINE Expansion designed to provide the driving, international sound of tech house. The Expansion features 33 drum kits loaded with new kicks, snares, hi-hats, and claps, as well as seven Special Kits containing analog spring reverb samples, Ride and Snare kits optimized for live performance, and additional Spoken and Radio Voice Kits for additional textures. New MASSIVE presets provide exclusive basses, leads, pads, and effects for added variety. Optimized for live performance of tech house, STATIC FRICTION is available for MASCHINE and MASCHINE MIKRO. A compact version is also available for iMASCHINE.
STATIC FRICTION’s sound set is built on a foundation of modern and classic drum sounds carefully matched to represent a full range of tech house styles. Organic, saturated bass and synth patterns provide melodic elements representative of the genre. These are complemented by a brand-new set of MASSIVE presets, offering producers an ample array of tools for creating an individual sound. The Expansion also delivers an exclusive set of special elements essential for authentic tech house production. An analog reverb unit was recorded as the spring was struck and ‘played’ like an instrument. The resulting high-quality samples add a unique, metallic texture to STATIC FRICTION’s sonic palette. Spoken and Radio Voice Kits recorded just for this Expansion let producers add catchy vocal hooks to their dancefloor productions.
STATIC FRICTION’s workflow is specifically tailored to live performance. The seven Special Kits pre-load with samples of a single instrument category. When performing, producers can solo, mute, and trigger various spring reverb and voice samples, snares, or rides. This provides a fun and intuitive way to instantly change the texture of tracks, embellish a live DJ set with new sounds, or to create one of a kind, on-the-fly remixes.
Pricing and availability
STATIC FRICTION is available at the NI Online Shop for $49 / 49 € / ¥ 4800. A compact version of STATIC FRICTION is also available for iMASCHINE in the in-app store for $0.99 / 0,89 € / ¥ 85.
￼Further product information and press material Additional information on STATIC FRICTION is available at: www.native-instruments.com/staticfriction A digital press kit including picture material is available at: www.native-instruments.com/press.info
About Native Instruments Native Instruments is a leading manufacturer of software and hardware for computer-based music production and DJing. The company’s mission is to develop innovative, fully integrated solutions for all professions, styles and genres. The resulting products regularly push technological boundaries and open up new creative horizons for professionals and amateurs alike. Native Instruments opened up the fascinating world of real-time sound synthesis on standard computers in 1996, and today offers an extensive product range for musicians, producers and DJs. The company currently employs over 350 people in its four offices in Berlin, Los Angeles, Tokyo and Shenzhen and works closely with more than 40 international distribution partners to ensure its future growth and success.
Drummer looks like it’s really going to speed up the composing and early production process. Wow. Not to forget all the other perks.
It’s up and running! Your complete LemonadeWeekend 2.0 101 – all you need to know to plan your itinerary, book your reservation and find your way around the multitude of events and treats all happening in Historic Hollywood. Don’t miss out!
Save the date, Ladies & Gentlemen: September 13th through 15th 2013 at Kurhaus Goeggingen, Augsburg with a well proven cast of backing band and a very exciting list of artists. Check it out following below link: