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ISPO Textrends. Digital Sourcing. Sport Goes on the "Outdoor Mission" in Olaf Rupp zum Beispiel ist ein unglaublicher Musiker. Der spielt nur frei Gitarre, viel Solo-Gitarre. Klar — und wer kennt schon Christian Lillinger oder Ronny Graupe?

Wer kennt schon Elias Stemeseder? Gibt es einen Unterschied zur amerikanischen Szene? Nein, weil da gibt es auch so viele Leute.

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Man sieht es ja. Manchmal hat es auch eine musikalische Grundlage, oft aber nicht. Auch wer einen Artikel in den Jazzmagazinen oder auch in der normalen Presse bekommt: das ist meistens einfach Kohle oder PR. Aber es gibt eine andere Art von Bekanntheit, die Bekanntheit in der Szene. Und umgekehrt. Er rollt freiwillig einen Stein immer wieder den Berg hinauf, um ihn dann mit Freude wieder hinunterrollen zu sehen. Diese Gestalt hat mich irgendwie fasziniert, auch als gesellschaftskritische Figur.

Das hat mir viele Ideen gegeben. Das beschreibt eigentlich ziemlich gut, wonach es klingt, was du machst… Philipp: Ja, ich bewundere zum Beispiel Frank Gratkowski und Matthias Schubert: unglaubliche Typen, was die entwickelt haben an Sounds und so. Eine Momentaufnahme? Letztendlich sind es meist Momentaufnahmen oder eine Dokumentation von einer bestimmten Phase, in der eine Band ist. Jedes Konzert ist eine Momentaufnahme dieses Sounds, oder?

Hyperactive Kid und auch Philm leben von dem Momenterlebnis… Ja, stimmt. Gerade ist bei Hyper ist es extrem. Und wir spielen auswendig und die Leute denken dann oft, die spielen ja frei, weil die Strukturen vielleicht nicht so greifbar sind. Ich spiele auch frei improvisierte Konzerte, aber die Bands in denen ich spiele, da ist sehr viel Komponiertes. Ich komme schon von der Tradition. Und dann irgendwann haben wir angefangen zu schreiben. Ja [lacht]… Mal schauen!

What was the very first idea, musically speaking, that led you three come together as a band, that ? The bass player didn't show up for a jam. His space was filled by an adventurous spirit of freedom and joy. Back then we played standards like Inner Urge, Spiral or Nefertiti and the missing bass brought both freedom and a lot of responsibility to each of us.

The challenge was playing music that is usually built on the bass without a bass. Also, sound-wise we had to deal with the missing warmth and unifying, connecting part of the bass. We didn't think much back then, it was simply an adventure to discover and create music together. Everybody contributed compositions and ideas and very soon we had replaced the standards with originals. No matter how complicated the music was, we always played by heart - in some rehearsals we got lost for hours in discovering endless ways to improvise over a form of maybe three or five bars.

So arranging and finding ways to make the compositions happen was always a collective and time consuming process. This, to me, is a very logical workflow: everybody bringing in and suggesting very specific things the original composer could hardly know about the other players colours and possibilities on their instruments. Well, that idea is more of a spirit, an approach than a concept or a style.

It stayed with us and showed many faces since the beginning. How has the group developed that idea so far? To me it still feels like only the beginning of circling around the essence of something. Somehow the direction the band takes is not even controllable. The music just changes along the way while each of us is trying to grow as a musician.

The development and phases of some songs we played for years could maybe serve as an image for this bigger, longtime development of a band sound.

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That definitely has an impact on the sound and the atmosphere on stage. Their love of music is as big as the universe. Each of them has a very defined and own vision of how their instruments should sound and of which - maybe at times surprising - role it could play. Sometimes it seems to me they want their instruments to sound like a whole orchestra- reaching for something out there that might be possible to play Also their crazy technique and understanding of musical parameters gives both the necessary overview and thereby freedom to tell their stories in many different, even very tricky contexts.

A big impact on the band sound is their love for the pure way of playing their instruments What do I bring to the band? In this trio I hardly ever have a break from playing. Switching roles from soloing to accompanying to creating a texture or sound with the others etc. It is a big challenge to find ways on the tenor to play all these rolls. It also is kind of expected or demanded by the colleagues to surprise and entertain each other especially in songs that have been played over and over again.

Being the very different characters all three of us are also creates some - most of the times - positive tension. It is my twin brother Jan's trumpet. He also placed the plastic sword there. For no specific reason. None of us would dare to even touch such a difficult instrument as a trumpet! All of them. And on the long run I think it will help us come closer to the real sound of the band, and accept its own weird beauty as we don't have to create all the music we imagine with that one band.

For a long time i thought the other way round: being mainly involved in that one band would force us to dig deeper as we wanted to tell all the stories within that frame. Haha, yes, definitely. For a year or so i even played his bass clarinet reeds on the tenor- the ones that didn't work for him - talking of "reeds" - hoping for more!

His musical clarity, groove, sound and beauty is overwhelming. I've loved every single note that I have heard him play. A miracle! The thing that impressed me most is his joy of creating sound - every morning in every hotel he couldn't wait to start practicing.

I've met nobody so far who comes even close to playing the bass clarinet like him with that sound. So it is more the approach than details we talked about or i might have "stolen". Also - but it will take years to evolve in my playing - listening to Rudi gave me an idea of how to approach the flagolet - register. This is difficult to explain Rudi playing the bass clarinet like an alto. Searching for something very specific and unexpected or in other words: the imagination being stronger and more defining than the instrument itself.

To me, weirdly nobody else comes closer to create the mood Charlie Parker must have created than Rudi. What can you tell about the Berlin JazzKollektiv and your experience in that? Beautiful, unselfish, true collective of freaks, which creates a good platform to present "our" music even if very different players and minds are involved. From summer on we will play less ourselves so we can invite more guests. Guests from Berlin or far away if there is money. Is Hyperactive Kid involved in too? Ronny and me. But Christian definitely lets us know what he likes or doesn't like about JKB.

Which great musicians of this scene do you look at? Also constantly new characters are showing up The diversity is crazy Of course too many of them you don't see playing the big festivals nor encounter them in the ad-based magazines. Luckily Berlin, where all of us are based, changed the way it did and many fantastic musicians from all over moved here or stop by from time to time or play.

American jazz musicians see their tradition in swing orchestras, Parker, Dizzy, improvisation, Coltrane, Miles, licks, Max Roach, Ornette Coleman, free Growing up in a country that doesn't really have folk music which is present and lively anymore I think all of us have our own roots: depending on what they grew up listening to and play along with or heard in concerts etc. With the WWW entering our lives, this process of individualized roots became normality.

And apart from that, by now there are so many coexisting jazztraditions - one has to choose a point where to enter, how far to go back. The more of a tradition one knows, the better, but it can also be a trap: you can never reproduce any jazztradition or style and reach up to it simply because you will never feel the same excitement and fire the inventors felt, everything had its place and time.

So besides being aware of the exploding richness and the whole history of Jazz all the countless jazztraditions and maybe knowing how to play some of it, I think it is mainly about finding some field or language for oneself. I once in an interview described my point of view concerning tradition with the following words: "The longer I play music, the more important it becomes and the more clearly I perceive what a band conveys, which message it sends out.

I am deeply connected to tradition and constantly try to understand and carry forth its liveliness and fire - which could only develop in the context of its time ; and thus secure the old masters their lasting impact. The music felt more alive that way. We almost never used a loop station for example. Somehow this is the hard way, as it is so easy to create a big atmosphere by using effects etc.

But soon, hopefully we want to produce a proper studio album, playing with all the possibilities of editing etc. This opposing the latest two Hyper albums which are live recordings. And if Hyperactive Kid features a special guest just only one , who would this be? We never missed a gig and never played with a sub or guest so far. Tough one. No idea. Any suggestions? Nick DeRiso, somethingelsereviews.

Many are the jazz adventurers who have run aground on the rocky shoals of the Thelonious Monk sound. They either come off as gimmicky impersonators, the portrait of studied eccentricity, or as well-meaning but genuinely confused — unsure of what to do with all of that dissonance. Wiik couples then decouples, and Gropper sounds — if only for a moment — like a lonely romantic. But, just then, Steidle brings his kit back to a rolling boil, and Gropper returns to his initial harmonic distortion as the track concludes.

When Wiik initially comes to the fore, he plays with a pent-up abandon — spurring Gropper into a more contemplative tack. Lang and Steidle slow to an intermittent shamble, as Gropper offers a frankly gorgeous meditation. Then they start again, with Gropper honking happily along. Then, it begins again. Lang and Steidle softly clang about, soon joined by Wiik, as Gropper continues along with his lengthy ruminations. Slowly, almost imperceptively at first, the composition begins to pick up steam, until finally the quartet has rejoined its earlier sense of dissonant abandon.

As with so many moments of this album, the track reveals new treasures on repeating listens. Later, I became transfixed as Lang and Steidle answered back with these ruggedly individualistic splashes of color — all while keeping this adroit cadence.


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  5. Philipp Gropper - tenorsaxophone / sopranosaxophone / composition.

Das ist Musik von heute. Leipziger Jazztage in der Hotellobby. Hier ist er geblieben, erst recht nach dem Fall der Mauer. Als die noch fest die Metropole teilte, wollte der Vater im Westteil der Stadt dem Wehrdienst entkommen, fand seine Frau und ging nicht mehr weg.

Hobbymusiker waren beide, sie spielt Tenorsaxofon, er Trompete. Philipp und sein Zwillingsbruder Jan — Trompeter und heute auch Profimusiker — wurden nicht getrimmt zu Musikern, sondern fingen selbst Feuer, weil viel Musik einfach immer da war. Das Zentrum bildete vom Beginn an vor allem der Jazz. Philipp lernte Altsaxofon, um mit 16 dann aufs Tenor umzusteigen. Er machte das Abitur, bildete sich autodidaktisch im Selbststudium auf seinem Instrument weiter und absolvierte seinen Zivildienst. Philipp Gropper hat das daraus resultierende satte Stipendium nicht angenommen und zog Berlin vor.

Und irgendwie folgt diese feste Verwurzelung in seiner Heimatstadt einer inneren Logik seiner Biografie. Eine gute Schule Berlin ist schnell, bunt, international, vergleichsweise billig und immer in Bewegung. Berlin ist eine gute Schule. Diese Botschaft kam von allen. Ich bin keine Rampensau. Kopien nach Originalen, das war gestern, doch diese extrem gebaute und doch so spontane Musik, bei der die Stimmen ineinander changieren und auseinander hervorgehen, reagiert wie guter Jazz immer auf das Heute.

Mit Graupe und Lillinger hat er ein extrem eigenes Konzept entwickelt. Dann geht es darum, die Bausteine geschmackvoll einzusetzen und passend. Gleichberechtigt wird kompakt ein extremes Tempo angeschlagen. Die Kompositionen sind meist zwei bis vier Seiten lang und dauern live dann um die 20 Minuten. Jeder von uns bewegt sich auch in anderen musikalischen Kontexten, lernt und speist das ein.

Drei reaktionsschnelle Improvisatoren haben ihren Stoff verinnerlicht. Mit dem Synthesizer kann direkter ein orchestraler Sound produziert werden als in einer akustischen Band. Von den so generierten Stimmungen ist die Gruppe getragen. Mein Luxus ist das, was ich tue. Reisen bringen viel Inspiration und relativieren alles, was man zuhause vorfindet.

Das hat vielen von uns den Mut gegeben, in eine Richtung zu gehen, an die man wirklich glaubt, in der man einen Sinn sieht, weil wir damals begriffen haben, wie schnell es vorbei sein kann. Ich geh der Nase nach. Ich will mich nur nicht langweilen. Was mich mehr und mehr fasziniert, ist die Frage der Aura eines Musikers, oft schon in einem Ton erfahrbar, ein ganzes Leben in einem Ton.

Die Geschichte seiner Musik hat er als inhaliertes Destillat in sich. Und wie sind seine Empfindungen zur Krise der CD? Das Leben ist ja auch in unserer vermeintlichen Tempogesellschaft nicht wirklich so schnell, wie uns allenthalben suggeriert wird.

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Ein Musikliebhaber muss verweilen, eintauchen, er kann sich nicht durchzappen. Doch weit gefehlt. Das die vier Musiker virtuos auftrumpfende Instrumentalisten sind, das versteht sich von selbst. Die Jazzgeschichte hat er verinnerlicht, immer wieder funkeln Spurenelemente seiner Altvorderen durch seine unvorhersehbaren Improvisationslinien.

Rudi Mahall, I had come with no expectations, no point of reference. What I I left euphoric. What I experienced was better than a great performance; it changed my idea of what jazz could be. Auf dem Plan standen Ravi Coltrane mit seinem Hyperactive Kid hatten keine Ahnung dass sie die Retter des Abends waren. Auch die drei Berliner arbeiten mit musikalischer Dekonstruktion, doch ihre Ansatz geht weitaus tiefer, indem sie nicht nur mit Haltungen spielen, sondern an die Substanz der Musik selbst gehen.

Wenn man sie im Konzert sieht, scheint die Herkunft ihres Namens klar. Philipp und Ronny sind ruhig und gelassen, Christian ist nur unwesentlich weniger quirlig als an seinem Instrument. Aber die geschriebenen Teile bleiben mehr oder minder gleich.