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More Postmarks reviews. Feelin the love. Thanks all!

All About Jazz

The duo Postmarks consists of London-born Austrian saxophonist Boris Hauf and the Chicago-based American pianist D Bayne. Their first CD Western Ave (Luminescence, 2005) was a limited-edition of only one hundred copies packaged in unique covers, each a handcrafted collage from twenties Chicago postcards. For National Parks, the duo went to Vienna to record with experimental guitarist Martin Siewert, maybe best known for his work with Trapist or in Hauf’s Efzeg. The outlines for the ten pieces the three recorded were composed by Hauf and Bayne, and inspired by U.S. national parks and their representation on posters from the thirties and forties.

Without veering too close to programme music, the pieces clearly display the influence of the material that inspired them. They are gently melodious and have a mellow tranquillity that is easy on the ear without risking becoming soporific. Occasionally there are traces that the two have been mindful of the thirties/forties origins of the posters, most obviously in Hauf’s sax work. For instance, his rising phrase that opens “Hubbell Trading Post at dusk” sounds borrowed from the big band era and will have many listeners racking their brains for its inspiration. Three of the pieces appear in two versions—distinguished as “at dawn” and “at dusk”—and comparison of these reveal that the compositions are not prescriptive but allow the players considerable leeway for interpretation and improvisation, to the extent that—at over eleven minutes—”Hubbell Trading Post at dawn” is over twice the length of “Hubbell Trading Post at dusk.”

As the inspiration for the music was a combination of nature (the parks) and nostalgia (the posters), the choice of Siewert as a guest player with the duo was an intriguing one, maybe signaling that Hauf and Bayne were seeking to avoid the music becoming overly pastoral or nostalgic. If that was the intention, Siewert—with his minimalist style and use of electronics—was a good choice to help steer the music clear of such things. In practice, Siewert plays a typically understated role, contributing just enough coloration to brand this as twenty-first century music; for instance his judicious injections of electronic noise clearly brand it as neither pastoral nor nostalgic. An inspired choice by Postmarks.

– John Eyles

The Wire

The beautifully designed digital collages that adorn this release, each reworking elements of 1920s posters advertising American national parks, apparently inspired musical outlines for the eight pieces here. Postmarks are the pianist D Bayne and the saxophonist Boris Hauf, who on this, their second album, are joined in places by the Viennese guitar experimentalist Martin Siewert. On the whole these are slow, moodily beautiful piano and sax improvisations, with Bayne’s forthright, oftener minimally repetitive piano providing a framework over which Hauf drifts smoky, semi-melodic lines. Siewert’s contributions are few and far between, but add an abstract electronic coloring that does just enough to keep the album, away form middle ground jazziness. Difficult to firmly categorizes, National Parks often veers close to tuneful politeness but retains an atonal edge throughout that undermines everything and provides a nervous and intriguing quality to the music.
– The Wire

freejazzblog

We like the music of saxophonist Boris Hauf, as can be read on previous reviews here. On these albums Hauf demonstrated his skill to create a sonic mood, a coherent environment sculpted with sound. On “National Parks” he is accompanied by D Bayne on piano and by Martin Siewert on guitar.

The music is inspired by the posters for US national parks from the 1930s and 1940s, which strangely add the dual color of evocating nature, while at the same time coloring with sentiments of bygone days.

The music is quiet, well-paced, subtle, beautiful, not cheerful but also not really sad, but rather solemn and light-hearted, if that is possible, and then Siewert draws a solid nail through the musical poster, ripping every sentiment of comfort you may have had.

Some of the tracks are real miniatures, short often minimalist pieces full of finesse and interesting playing, and they are as good as the longer pieces, which are on the second part of the album, with more room to develop the ideas while at the same time allowing for more emotional depth.

In a way you could qualify the music as free jazz impressionism, because of its concept and its accessibility and obvious beauty on the surface level, yet at the same time, the music remains open-ended, like nothing is definitive, with more abstract threads of sounds left unraveled, as if there is a question mark behind it all, and with some darker undercurrents, something fearful and unexplained, mayby unexplainable, hidden in the invisible parts of the scenes yet present, or with traces of the past somehow still lingering, only to be caught with sound, with repetitive arpeggios, slightly bending notes on the sax and screeching guitar sounds.
– Stef

freistil

On “National Parks” Postmarks reflect upon the appearance of various U.S. national parks and their representation on posters of the 1930s and 40s. Still, even without this background knowledge, the extemporization of this classic sax/piano line-up is impeccable.

Auf “National Parks” reflektieren Postmarks das Erscheinungsbild diverser US-Nationalparks unter Berücksichtigung ihrer Darstellung auf Plakaten der 1930er und 40er Jahre. Dieser inhaltliche Background spiegelt sich freilich in einem Saxofon-Klavier-Duo höchstens rudimentär wider, wenn überhaupt. Und auch ohne das Wissen darum funktioniert die Extemporierung der klassischen Besetzung hinaus ins freie Feld tadellos.
– felix freistil.klingt.org

MORE REVIEWS

BARCELONA

3 prize, JIMS competition 2007.

Composition – Boris Hauf
Janus Ensmeble & Christoph Cech

BARCELONA hat 4 Teile – Raum 1, Raum 2, Raum 3 und T – und ist nach einem Besuch in Mies van der Rohes Pavillion in Barcelona geschrieben worden. Die Räume werden vom Dirigenten in Echtzeit gebaut. Dem Dirigenten stehen 5 Bauteile zur Verfügung:

der BODEN – STABILITÄT
Instrumente: Violine 1+2, Viola, Cello

die WAND – MATERIE, STÄRKE
Instrumente: C-Floete, Bb-Clarinette

die DECKE – OFFENHEIT
Instrumente: grosse Trommel (gespielt von Bassist), Kontrabass, F-Horn

die SYMMETRIE – ZEIT
Instrumente: Trompete Bb, kleine Tromm

der DIRIGENT/das KLAVIER – VERSTÄNDNISS.
Instrument: Dirigent / Klavier

Methode:
Die einzelnen Bauteile werden binär dirigiert, d.h. sie können nur ein- und ausgeschalten werden. Auf die interne Dynamik-, Temposchwankungen oder Taktartänderungen, etc… hat der Dirigent keinen Einfluss. Spielanweisungen für diese Variationen und deren Akkumulation sind in den Einzelstimmen verzeichnet.
Die einzelnen Bauteile repräsentieren raümliche Eigenschaften/Funktionen – Boden, Wand, Decke, Symmentrie, Klavier. Diese sollen die formale Strukturierung beeinflussen. (Wie viele Wände will ich in den Raum stellen? Welche Bedeutung hat Symmetrie in diesem Raum? In welchem Verhältniss stehen Boden und Decke? etc…)
Eine Sonderrolle nimmt der Dirigent/Pianist ein. Er vervollständigt das Gesamtbild des Raumes (VERSTÄNDNISS). Noten- und ein Methodenkatalog sind in der Klavierstimme verzeichnet.

Dauer:
Jeder Raum soll durchschnittlich 3 bis 4 Minuten dauern. Extreme Variationen in der Dau

Das Element ‘T’:
T ist rhythmisch phrasiert und soll als komplementär Element eingesetzt werden. Spielanweisung: TUTTI – weiches und leises staccato. (kleine Trommel snare OFF, große Trommel gedämpft – kein Nachklang). Tonhöhe offen, aber fixiert, sobald eine gewählt wurde. Tutti -tonhöhenalterierungen wie angegeben.

Weiteres:
Die Wiederholung der einzelnen Teile ist möglich.
z.B.: Raum1 – Raum2 – Raum3 – T – Raum3 – T – T – T(fine)
Zwischen Räumen ist eine kurze Generalpause einzuhalten. Ob T attacca oder nicht gespielt wird, ist dem Dirigenten überlassen.

Dem ganzen Ensemble sollen die einzelnen raümliche Eigenschaften/Funktionen der Bauteile und deren Variations- und Akkumulationsmöglichkeiten bekannt sein.

Verschiedene Strukturen proben.

Vor der Aufführung eine Struktur vereinbaren.

what moves moves – premiere wednesday 12/11/13

what moves moves

Christina Ciupke und Boris Hauf

Premiere:
11. – 14. Dezember 2013, jeweils 20.00 Uhr
Uferstudios, Berlin
Reservierung: 030 505 67 101 oder produktion@ciupke
oder VVK unter www.reservix.de

what moves moves is the second collaboration of the musician Boris Hauf and dancer Christina Ciupke.

“The starting point of our dialogue is the discussion of the aesthetic perception of dance and music. We examine a space within a space, through which the dynamics of sound and movement are condensed, and the balance between the two media is questioned.
Sound inevitably creates a space of coexistence and in this respect it is a product of the interaction between the viewer/listener and the object/sound-source and it also incorporates a third component: the state that is the product of time, context, expectation and memory.
In what moves moves we establish a specific situation in the room in which a physical object can be perceived from different perspectives and through different sensory levels. This object possesses auditory and kinaesthetic properties and changes the form in which it appears.
The visitor is invited to enter into a situation in which the possibility exists of perceiving between the moment of viewing/ listening and the moment of creation or to fluctuate between these modes of perception.
Even more than in the space the perception moves on a time axis. Past and present, creating and receiving merge in one’s own personal experience.”

what moves moves ist die zweite Zusammenarbeit der Tänzerin Christina Ciupke und des Musikers Boris Hauf.

„Ausgangspunkt unseres Dialogs ist die Auseinandersetzung mit ästhetischen Wahrnehmungen in Tanz und Musik. Wir untersuchen einen Raum im Raum, in dem durch Klang und Bewegung Dynamik verdichtet und die Balance der beiden Medien befragt wird.
Klang schafft zwangsläufig einen Raum der gleichzeitig und in jeder Hinsicht ein Produkt von Interaktion zwischen Zuschauer/Zuhörer und Objekt/Klangquelle ist und darüber hinaus eine dritte Komponente mit einbezieht: einen Zustand der ein Produkt von Zeit, Kontext, Erwartung und Erinnerung ist.
In what moves moves etablieren wir eine spezifische Situation, in der ein physisches Objekt im Raum aus verschiedenen Perspektiven und auf unterschiedlichen sinnlichen Ebenen wahrgenommen werden kann. Dieses Objekt besitzt auditive und kinästhetische Eigenschaften und verändert seine Erscheinungsformen
Der Besucher wird eingeladen sich in eine Situation zu begeben, in der die Möglichkeit besteht die Wahrnehmung zwischen dem Moment des Betrachtens / Zuhörens und dem Moment der Entstehung des soeben Wahrgenommenen pendeln zu lassen.
Mehr noch als im Raum bewegt sich die Wahrnehmung auf einer Zeitachse. Vergangenheit und Gegenwart, kreieren und rezipieren verschmelzen in der persönlichen Erfahrung.“

credits:
Performance: Christina Ciupke, Boris Hauf
Musik: Boris Hauf
Licht: Mehdi Toutain-Lopez
Bühnenkonstruktion: Bodo Herrmann
Kostüme: Nina Kramer
Produktionsleitung: Barbara Greiner
Assistenz: Anne Schuh
Eine Produktion von Christina Ciupke
Gefördert durch die Kulturverwaltung des Berliner Senats
www.christinaciupke.com
http://hauf.klingt.org/

Huetten Bild: Sebastian Gwinner

 

schiefe huette

new release: Postmarks – National Parks (Vinyl and CD)

Postmarks is a duo with saxophonist Boris Hauf and pianist D Bayne. Their first album Western Ave was recorded in Chicago (2005) and released as a limited- edition CD on Luminescence Records. The 100 copies were packaged in unique covers, each a handcrafted collage from 1920s Chicago postcards by T. Kellers of STUDIO TWELVE 3. For National Parks, Hauf and Bayne went to Vienna, Austria to record with guitar-experimentalist Martin Siewert. Musical outlines for the pieces were inspired by U.S. national parks and their representation in iconic posters from the 1930s and 1940s.

2013 on Montotype Records

Postmarks – National Parks
Boris Hauf (baritone & tenor sax) & D Bayne (piano)
special guest: Martin Siewert (guitar, electronics)

all compositions: Boris Hauf (AKM) and D Bayne (BMI)
recorded, mixed and mastered Martin Siewert, Vienna 2012

here are some of the posters we’re talking about:
image001

image002

image003

image004