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 Siwert. 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
Boris Hauf (saxophones) and D Bayne (piano) are Postmarks – assisted here by guitarist Marin Siewert who superimposes a layer of static electricity in intimate dialogue with the acoustic instruments. Inspired by America’s national parks and the way in which they were represented on postcards of the 30s, the album is full of lyrical passages that enhance a sound material organized with rigor and intelligence. (7)
– M. Busti, Blow Up
monsieur delire (Francois Couture)
Second CD from Postmarks – pianist D Bayne and sax player Boris Hauf (ex-Efzeg, among other projects) – with guest Martin Siewert on guitar and electronics. Delicate, thoughtful, quiet improvisations (they were in part pre-planned from what I understand), rich in abstraction. From time to time, an electronic tone cuts through, allowing the listener to refocus his attention, which tends to start wandering during this record. Not entirely convincing, but an interesting release.
Le son de grisli
They are inspired by maps Americans national parks published in the 1930s and 1940s – to each his scores – saxophonist Boris Hauf and pianist D Bayne made the trip to Vienna for Martin Siewert recorded their project – the Austrian may also intervene on guitar or electronics. A slow saxophone, timid and defeats piano notes and feedback Tension: So much for the opening ballad disgrace what Bandelier National, which does not communicate its nonchalance parts which follow. Is that the pianist has decided otherwise: borrowed, that he abuses Accessories interventions, arpeggios harped or leaks without ideas. And as Hauf follows suit while Siewert is not far from silent, we are eager to finish.
Le son de grisli (Guillaume Belhomme)
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:
piece I made a long long time ago.
A new piece by Karen Christopher and Sophie Grodin called CONTROL SIGNAL will be premiered this Thursday. I’m contributing (live) music.
In celebration of the premiere I made a 20 min remix-piece-kind-of-thing of all the musics I composed for the piece. Download it here: borishauf.bandcamp. Download is ‘pay as you wish’. Meaning you could pay, if you wished to do so. I hear it’s pretty easy (not complicated) to ‘pay as you wish’. Someone actually already did it. (paid for the download). Anyway, you can also just download it for free. (if you wish).
And – if you are in London and want to come please check the vitals below.
Thursday apparently is pretty much full so come on Friday (if you wish.)
Would be great to see you there.
By & With: Karen Christopher & Sophie Grodin
Sound: Boris Hauf
Light: Marty Langthorne
Dramaturgy: Litó Walkey
Premiere: 10 & 11 October, 2013
Chelsea Theatre, London,
downloads for your listening and harddrive-space-decreasing pleasures. I’ll be putting more stuff up there in the near future – you’re welcome to come back for more. Enjoy.
Thanks for listening.
SUPER AWESOME MUSIC for a SUPER AWESOME PIECE by Litó Walkey and Carlos Pez, 2008
released 01 January 2008
Composition, Production, Keys, Saxes – Boris Hauf
Strings – Daniella Strassfogel, Bo Lie, Derek Shirley
Drums – Steve Heather
Mastering – Todd Carter @belairsound
Boris Hauf – Sax
D Bayne – Piano
Martin Siewert – Electronics
out soon on Monotype Records
Jason Molina is one of my big musical heroes. I was truly saddened to learn of his untimely passing.
This is for him.
Thanks to the team of Kule, Berlin for inviting me to perform at Labor Sonor and my two buddies – Tom Meadowcroft and Steve Heather, them beauties.
Berlin, KuLe – Labor Sonor, April 15, 2013.
If you;ve had enough circular breathing solo sax multiphonics, drones n trills you’re not only a loser but can also jump to minute 10 for juicy vocals and backing harmonies.
“[…] On Next Delusion by Berlin-based saxophonist Boris Hauf, […] forms […] an even more unconventional lineup. There can be few instrumentations that are completely novel, but three horns matched with three drumsets recalls few precedents. Waxed on one of the German’s regular trips to Chicago, Hauf has assembled a talented crew, though their abilities are almost totally sublimated to the leader’s offbeat conceptions.
For much of the time, the three percussionists (Frank Rosaly, Steven Hess and Michael Hartman) are so restrained as to be subliminal and the horns (Keefe Jackson, alongside Stein and Hauf) aren’t much more demonstrative. It’s largely impossible to tell who does what in the four tracks, which defy categorization in their execution of Hauf’s austere and rigorous charts. Dissonant unisons and subdued drones characterize the horn lines, which often sound on a parallel but unconnected track to the rumbling massed drums. Ultimately it’s a curiosity that sounds like nothing else.”
The New York City Jazz Record
NEW YORK’s ONLY HOMEGROWN JAZZ GAZETTE
original review in croation here.
google translate below…>
Boris Hauf Chicago Sextet ‘Next Delusion’ – sound set out in the iris of the eye
Boris Hauf Sextet ‘Next Delusion’
Haufov Chicago sextet Next Delusion three wind players and three drummers, in the first series bass clarinetist Jason Stein , and saxophonists Hauf (tenor, baritone) and Keefe Jackson (tenor, bass clarinet), while in the second Frank Rosaly , Michael Hartmann and Steven Hess , respectively drummers.
Connection Chicago and Berlin is not sporadic, because at the time before it was Jeb Bishop left the electric guitar to be devoted entirely to the trombone, Art Institute of Chicago has organized a major event dedicated tuvanskoj singer Sainkho Namtchylak inhabited in Vienna, where the Chicago quartet performing guitarists Werner Daefeldeckera . And judging by the recordings are from 1991. year on YouTube, it seems that it was Boris Taba. Ahead Viennese moving to Berlin at the beginning of the millennium Hauf mapped sound EAI label Durian, Mego, Grave and Extraplatte, along with colleagues from the collectiveKlingt . Electrification of experience gained in the sound texture group Efzeg with Saks, synthesizers and computer harnessed to work with the American trio TV Pow, lap-gunner, in which in addition to a Hartmann opskurnija names.
Sextet moving aesthetic minimalist sound, even before the reductionist, in the introductory “Gregory Grant Machine” frequency point are established from the rainy strikes by cymbals and mikrovizatorskih winds that slowly heat up the intoxicating drone collective timbre spreading aura solar orgasm. In “Eighteen Ghost Roads” suggestive atmosphere is indicated akordnim voicinzima three winds, followed by the massive crowds refined drumming.
In polikromatskoj “Fame and Riches” idea is enshrined in the iris of the eye with a provocative voice, saxophone playing a double role, the soloist and the first one to vote almost chamber orchestra. And although they are invasive in “Wayward Lanes”, the listener is also not required to take care of every detail.Crawl under his skin – that! – Leaving him at a distance to the sound discretion cope.
(Clean Feed, 2012).
Type Jeraj Sundays from 22:00 to 24:00 hours editing and hosting the show ‘Hearing deception’ on Radio 808th
The 3 level parking garage in the center of Berlin, in which my beloved studio is located, will be blown up and torn to pieces come January 1, 2013. No kidding… I’ve been saying good bye to the place these last weeks, recording on the ramps and levels of the actual parking garage. Awesome Sauce Songs and Sounds with Loves It! from Austin, Texas and my ancient buddy Kurt Johnson on bass and most recently some Solo Organ Noise Drones…. a tube mic on the ramp, the organ amp pointing into the parking level. here’s the noise. check and if you really really like it, drop me a line. Looks like I’m gonna start a remix project with this recordings with my long time buddies and collaborators Michael Hartman and Adam Sonderberg.
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Todd Carter – Vocals, Percussion
Brent Gutzeit – Vocals, Percussion
Michael Hartman – Vocals, Percussion
Boris Hauf – Vocals, Percussion
Fascinated by the minimalist textures revealed by balancing percussion and reed timbres plus an overlay of electronics, Berlin-based saxophonist Boris Hauf convened these telekinetic exercises in collective improvisation during a 2010 busman`s holiday in Chicago.
A frequent visitor to that city, Hauf is best known for his work with the efzeg combo, but these CDs are even more reductionist. Replacing the guitars that were part of efzeg with piano micro-tonalism of one-name Austrian Juun, plus his own harmonium playing on Proxemics, Hauf fills out the juddering narrative with contributions from his tenor and soprano saxophones, Keefe Jackson’s contrabass clarinet and tenor saxophone and Steven Hess’s drum beats. Hess, who is almost prominent in metal bands; Hauf and Jackson, who leads his own band and is a fixture in Chicago FreeBop combos; are all accounted for on Next Delusion with the trio augmented by exploratory Windy City bass clarinetist Jason Stein and two additional drummers: Michael Hartman and Frank Rosaly, both of whom gig frequently on the Chi-town Jazz scene.
In all honesty the discrepancy in the sound density between four or six players is minimal. Both measured and lingering the sextet’s four tracks travel a similar linear path as the three advanced by the quartet. If anything the most audible variation is the prominent reed textures Next Delusion. Often Stein’s bass clarinet, Jackson’s contrabass clarinet and the lower notes from Hauf’s tenor inflate together into an exposition of subterranean-pitched, tugboat-horn-like blowing. At the same time the output is never completely opaque, as split tones, snorts as well as linear air movements are also audible. Although the potential exists for rhythmic heavy-handedness from the three accomplished drummers, instead the percussionists are exemplary in cooperation. For every explosion of united rolls, ruffs and rebounds that upsets the chromatic cohesion, there are many more instances of the kit manipulators limiting themselves to rumbling timbres on drum tops or isolating cymbal claps and splashes.
If there’s a defining track it’s “Fame & Riches”; obviously no reflection of those involved with experimental improvised music. Beginning with reed tongue-slaps, flutters and squeaks, bass clarinet slurps and contrabass clarinet slurs eventually coagulate into a dense, nearly motionless reed mass. Finally meticulously angled saxophone lines and microtonal drum slaps reanimate the sequence.
Similar microtonal, chromatic interface is obvious on Proxemics, even if oscillating and shrill signal processing from Hauf’s sine tone and Hess’s electronics are more obvious. So are individual reed and piano strategies that reference Free Jazz. “Social”, the shortest track, contrasts straightforward tenor saxophone split tones backed by piano comping and drum top spanks. As Juan alternates her output between marimba-like string plucks and tremolo keyboard runs, puffing saxophone and clarinet air expelling maintain the track’s fragile equilibrium. Cascading and continuous harmonium washes on “Personal” similarly bring forth razzing sibilates from Jackson plus strident no-mouthpiece body toots from Hauf’s horn.
This combination of austere friction, moderated lyricism and near-ambient electronic synthesis is expanded to its fullest on the more than 29½ -minute “Public”. While the electronic shimmies often produce an unyielding ostinato as the horn men’s slurs slide into one another, there are still enough obvious jagged edges to keep the track lively. Among the standout signs are Juan’s clattering piano keys and tickling minimalist note patterns; bell-ringing and sequence-shattering from the percussionist’s raps and rolls; plus key percussion, mouthpiece whistling and balanced tongue slaps from the saxophonists.
With a mixture of European concepts and American know-how, Hauf and company maintain individual expression among the harmonies and rhythms of extended group expression. Both sessions make an impression and the textural attribute of either band could be advantageously developed by Hauf for further sound explorations.
Boris Hauf , Keefe Jackson, Jason Stein – reeds
Frank Rosaly, Steven Hess, Michael Hartman – drums
“What can you expect from a Berlin-based saxophonist (tenor and soprano) who also has a parallel activity as an electronic musician? Well… the unexpected. And the surprise here is not only the instrumental configuration – three horn players, three drummers -, but also the musicians associated. Keefe Jackson (tenor sax, contrabass clarinet), Jason Stein (bass clarinet) and Frank Rosaly (drums) are names you can find in several Chicago avant-jazz projects, but the other choices made by Boris Hauf, also centered in the Wind City, are a puzzling indication that this sextet is not a common Chicagoan enterprise. Michael Hartman (drums, electronics) comes from the noise/electronic ensemble TV Pow, and Steven Hess works normally in brutal metal and “near silence” electro-acoustic bands like Cleared, Haptic and Locrian, going from one extreme to the other. Before even listening to the CD you’re aware of the proposed intentions: to explore all the contradictions naturally introduced by the performers, and to keep alive the inherent musical tensions. And the truth is that “Next Delusion” boils to the point of explosion. Remarkable.”
D Bayne (Piano) & Boris Hauf (Tenorsax)
Recorded April 10, 2005. Released December 2011.
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