A festival within the festival: one night – four shows, featuring four popular current bands, all of them passionately devoted to crossover, encompassing classical, techno and club music.: Brandt Brauer Frick Ensemble (DE), Franceso Tristano (LU), Jerome Klein with his recent project KLΞIИ. (LU) and Glass Museum (BE).
Brandt Brauer Frick Ensemble
What started as an impromptu jam session in Wiesbaden in 2008 has emerged as an entire musical universe within a few years. Brandt Brauer Frick embodies perhaps the most exciting fusion of classical instruments and club music to date. The blurring of boundaries has become their trademark – even if these are self-imposed ones – allowing them to reach a broad range of scenes and audiences worldwide.
After producing their first album 'You Make Me Real' as a trio and performing in the club context at first, Daniel Brandt, Jan Brauer and Paul Frick founded the ten-piece 'Brandt Brauer Frick Ensemble' in 2010, including a trombone, tuba, violin, cello, harp, piano, drums/percussion (three players), and a Moog synthesizer.
In the following year, the group released their second LP 'Mr. Machine', which succeeded to promote them to both major festival stages and classical concert halls. Since then, the ensemble has performed at diverse festivals such as Glastonbury, Montreux Jazz, Sonar, and Coachella Music and Arts, while also playing on renowned stages such as the Lincoln Center New York, Centre Pompidou Paris, and Southbank Centre London. At the same time, they continue touring techno clubs all around the world.
By the time of their third album release 'Miami', Brandt Brauer Frick – originally an instrumental band, have incorporated more and more vocals in their work. After collaborating with the likes of Jamie Lidell and Om'Mas Keith, Nina Kraviz, Gudrun Gut and others, the ensemble has also performed with the WDR Radio Choir in 2014. In the same year they released their contribution for the legendary DJ-Kicks series, on which they mix together their own with others music.
In 2015 the Ensemble toured with their self-founded choir ‚The Free Electric Singers' and the Canadian Beaver Sheppard, who is also the singer on the fourth album ‚Joy', released in 2016, on which Brandt Brauer Frick explore new song-based terrain. In autumn, they premiered their first Opera ‚Gianni' at Deutsche Oper Berlin, written together with the British director Martin Butler. The group’s fifth album is expected for 2018.
Francesco Tristano’s recordings attempt to embrace a broad spectrum too; for Deutsche Grammophon he developed programs based on Cage and Bach (“Bach/Cage”, 2011), Buxtehude and Bach (“Long Walk”, 2012), Ravel and Stravinsky in “Scandale” (2014). Then also, for the French label Infiné he has developed his own compositions where the main ingredients are rhythmic experimentation, abstract texture and a unique sensation of freedom. Although it can seem as a contradictory method, almost bipolar, in reality, there is a very direct – however tenuous – line that connects Bach with techno music; the dance rhythm, harmony and order you may find in Bach are very much alive in pop music. There is a familiar energy, and also a rigid and intense sense of groove.
Techno music entered his life while pursuing his degree at the Juilliard School of New York. During the day, he would lead The New Bach Players through their Bach readings, and at night, the city’s clubs would introduce him to house and techno music. In “Not for piano” (2007), he published his own compositions as well as piano versions of Detroit anthems such as, “The Bells” (Jeff Mills) or “Strings of Life” (Derrick May). A year later, with “Auricle Bio On” (2008), he introduced the sound of the piano and use it simultaneously as a sampler and synthesizer. In fact, with the release of “Idiosynkrasia” (2010) Francesco accomplished the synthesis of both languages; digital virtuosity and rare electronic textures, which he would claim as ‘Piano 2.0’.
Alongside with his career in electronic music, he has simultaneously continued to grow as a classical pianist with a repertoire half way between baroque (mainly Bach and before) and twentieth and twenty first century music, organizing his programs as if they were “playlists”, which is how he likes to define them. Francesco Tristano is expanding, driven by his genuine open-minded attitude and his increasing knowledge of techno. After finalizing Aufgang – two pianos and drums with a dose of deep house –, his next endeavours lead him again to his version of techno. laying the foundations of a vast and untamed aesthetic.
Music is music and whether it is baroque or modern, dance or ambient, it attempts to connect with mind and body, to the euphoric and the sublime.
In This new project, Jerome Klein works on an array of contrasts in a minimalist setting, slipping into a misty mood of melancholy and dark tones.
In this almost pure setting, his music surprises with loud splinters of light, explosion of energy and even frenetic extasy when the musicians let their passion take over. Although he has given many hints,Jerome Klein will keep the surprise for his live performance.
Rhodes, Piano, Keyboards, Jerome Klein. Vibraphone, Bass, Pol Belardi. Drums, Niels Engel.
Since 2016, Glass Museum’s raw, sunny energy has been uniting the surgical precision of the best contemporary jazz, à la Gogo Penguin and BADBADNOTGOOD, with the electronic influences of Jon Hopkins or Floating Points. Deux, the first album from pianist Antoine Flipo and drummer Martin Grégoire, hunkers down in the battle between the two instruments, producing lively, warm musical matter. Every song encouraged a remix, which were taken on by DJs like Haring and DC Salas to respond to the encounters between the music; consequently, Deux has become the ultimate modern marriage between pure traditional jazz, orchestral arrangements, and the mathematics of electronic music.
Deux, to be released in May 2018 Melodies narrating landscapes, constructed by syncopated rhythm. A lively piano, and drums that meticulously measure every heartbeat. Images recalled and distortions invented. Cleverly orchestrated songs and reflexive remixes. The melancholy of vast nights, and the light that warms them.
In the spring of 2016, at the dawn of their endeavor, Glass Museum was conceived of as a pair—at the time, Martin Grégoire and Antoine Flipo could only count on one another. Carried by their victory at the tremplin de Dour (“springboard” of Dour) after only several weeks of existence, they then needed to create a foundation of living musical material to carry their scrupulous tracks, all based on a battle between the drums and the piano. Two years, fifty-some concerts, and several awards (among them, their 14 at Concours Circuit’s final) later, the male duo is turning a new leaf with their album Deux.
Recorded at Rubens Studio, these six tracks tell the musical stories that they’d begun at the Botanique and the Waves Festival in Vienna, with a detour through the Tournai Jazz Festival. Infused with modern jazz influences, à la Gogo Penguin and Badbadnotgood, as well as with the electronic sounds of Jon Hopkins or Floating Points, Deux is also a tribute to Antoine’s classical origins (and party spirit) within Uncle Waldo and Gustave Brass Band, and an homage to Martin’s formation within rock, anchored in the post-rock groups of the past (Perils of Penelope and Rince-Doigt) and his drumwork of the present (Ulysse and DC Salas).
Reminding us that there are always two sides to every story, Glass Museum banded together with 6 collaborators for this release, each claiming one song as the base for a unique remix. On stage, the music becomes warm and full of life, often supported by traditional jazz improvisations and regular collabs with other musicians — Pierre Spataro of Oyster Node or even the trumpet player Martin Pichaut. The mise en scène, an idea from a concert with la Cie des Planches, will soon appear in concert as an experience in which light joins sound.