in honor of our last Animal Dances group show here in Berlin tonight, check the solo/trio version in the woods of finland.
Dance – Martin Nachbar
Music – Boris Hauf
Costume – Marion Montel
Video Lilo Mangelsdorff
more info: 13jahre.klingt.org
check out this new piece with:
3 awesome performers, a barisax player turned pseudo performer, 3 double sided panels, a cymbal (played by the barisax player turned pseudo performer), a bell (done by the same dude), a blue light, a bow and an arrow.
sounds great, right? It’s part of this year’s Tanztage at Sophiensäle, curated by the ever brilliant Peter Pleyer.
check it or miss it. (you’ll prolly miss it cuz it’s already sold out. also most of you don’t live in Berlin. Thanks for your patience though.) Either way, hope this finds you well. Happy New Year and hope to see you soon, somewhere down the road. Cheers, Boris
Monday January 7 and Tuesday January 8, 2013 @ 8:30PM
Sophien Säle, Sophienstraße 18, 10178 Berlin-Mitte
Alles ist erlaubt.
Alles ist getan.
Bring ein Buch und schlag es auf.
Der Spielplatz ist gewaltig.
Die Variationen unendlich.
Teile das Archiv.
Geschichte oder Geschichten?
Spielzeuge sind herausgesucht, Variationen dekliniert.
3 Flächen und 4 Menschen.
Der Rahmen, wo wir überlappen.
CHOREOGRAFIE Julian Weber
TANZ, PERFORMANCE Claudia Tomasi, Cinira Macedo, Boris Hauf, Julian Weber
MUSIK Boris Hauf
BÜHNENBILD Julian Weber
Gefördert durch Tanztage Berlin / SOPHIENSÆLE, Dank an alle.
oh yeah… also performing: a spot light, a skeleton, nail polish, newspaper and spray paint.
it’s a party for your eyes, ears, nose and other stuff.
“[…] 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 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