With Jazzanova there is always a great need of clarification: “The whole time we have to explain to people what was really the meaning is behind them now,” says Alexander Barck, one of the DJs of Jazzanova, with an ironic grin. “Sometimes it’s funny to us because we make ourselves not put that much thought. We love music to listen to very much music – old and new – and we enjoy making music. And that’s it. A playful toy around with it.”
“It sounds plausible, but it is quite the understatement. The six-member group belongs to the innovators celebrated worldwide on dance floors, in nujazz, broken beat, modern folk and soul. Around the globe pray to DJs and vinyl freaks Jazzanova. Their remixes of Masters At Work, Fat Freddys Drop, 4hero, Ursula Rucker are gems. But even for such diverse artists as Lenny Kravitz, Common, Azymuth Calexico or six people of Berlin have liked to have shown the trick of handling various basic material with respect, while all a distinctive sound Jazzanova -type signature.
Her mentor, the English Top A & R, radio producers and label founder of Talkin ‘Loud, Gilles Peterson, had recognized it immediately and directly contacted the guys after their first publication in order to get a remix for Japan’s United Future Organization. A short time later, Jazzanova were booked solid for years “” and conquered with their productions and remixes to the dancefloors of the world and especially the hearts of her listeners.
Bring the ability of different music styles to a common denominator and to put their enormous effort and commitment to explore the possibilities and not only highly respected in the international music world, but it also drives always go one step ahead.
Yet her music is authentic and it works “well on the Montreux Jazz Festival as well as in illegal basement club of the cousin of your friend,” said WaS-culture editor Cornelius Tittel. Where other manufacturers have eight pseudonyms, with which they cut each into the same stylistic groove to bring the six Berlin always as “Jazzanova” a respectable, otherworldly, unpredictable mix of styles out.
“Calculation plays no role in this process,” says Stefan Leisering. We are not interested, in what context the current genre music, with which we are busy, what exactly has a hipness factor. The way to the development were the goal. It is fun, “on the search for the ‘perfect’ sound to a whole bunch of different stations come by and let people participate in it too.”
“Our music can people take you on a journey,” says Alexander Barck. “If we manage to get to dance, she fascinated with it, if we are people who, say, do not like Brazilian music (or at least thought) to a Brazil-Track when they say: ‘never heard But madness is now my favorite ‘- these are the beautiful moments in a production or in a DJ set. ”
This enthusiasm, this self-conscious candor, coupled with professional ethics, you can hear immediately Jazzanovas out on a new, second studio album “Of All The Things”. It is immediately apparent that Jazzanova have worked with different voices, and the majority are male:
Leon Ware (soul legend and writer / producer of Marvin Gaye’s album “I Want You”) – together with covert Dwele (soloist for Common and Kanye West) – its own song of 1981.
With Phonte (Rapper U.S. hip-hop group Little Brother), Jazzanova return to their hip hop roots.
The Detroiter Paul Randolph, Ben Westbeech and the London Jos 矊 ames from Minneapolis – the latter brought both recently released their debut albums on Gilles Peterson’s Brownswood label out – or Dallas (Fat Freddy’s Drop by the New Zealanders) are included.
“The fact that there are so many men, is actually more of a coincidence,” says Claas Brieler, “but it sounds right.”
The list of musicians that have been recorded for this album, is so extensive that we do not, they could go. Think only of that Jazzanova have gone in recent years as DJs but probably at least 80 times around the world and have brought here from every trip a musician.
“For us it is first of all, the composition, the planning of the songs and the production of the instrumentals, the album in itself account for the related works. If we then work with the voices we choose, of course, from a targeted and place them exactly how they fit into our vision. We add them as elements in our image. This overall picture is the album. a whole, coherent story. And so, such as instrumentation and styles are different, it’s just the singer. But we are – and can hear the connection, “says Axel Reinemer.
ever hear, feel and we feel much more at Durchhören this music! There is much soul, the music is alive and deep simultaneously. Jazzanova have used this album to express themselves and their music into songs. Anyone who has followed their path, know that their interest in songs in relation to dancefloor-oriented production has grown more and more. Their first album, the genre classic “In Between” from 2002, the sample and beat specialist appointed with the highest aspirations to the stage. Had modified their production for the musical “Belle et Fou” announced in 2006, Jazzanova that would make their next album a lot.
Extensive recordings of songs and instruments were on the plan. What they deliver but with “Of All The Things” explodes with regard to the overall production of the known limits. With such a set-up would probably Frank Sinatra or James Brown was satisfied. But for “Let Me Show Ya” were twelve strings, and many other instruments and added a background chorus of eight voices. “The background chorus is quiet, but you can feel the power, and therefore we carry on this effort,” says Axel Reinemer.
And a big international sound has arisen, and it happens a lot of music! Viewed over the whole album Jazzanova work rich with ideas that sound layers and layers. Unlike the past, Jazzanova have been working on this album with hardly any samples. The beats come from the computer, but almost everything else is recorded live. Had they processed on “In Between” yet dozens of vinyl samples to implement their vision of sound, this is now happening with musicians and their recordings.
“Our approach is different today,” says Axel Reinemer. “Before, we used a lot of samples in order to create our own sound worlds. The same direction, we have maintained. They also had samples with much soul. But today, we create our own worlds through sound, new recordings of musicians. We can use these implement live recordings of our songs better and more flexible. We have more leeway, because samples have a fixed harmonious environment “.
“But of course, samples are also many great qualities,” says Claas Brieler. “For example, about the special sound from another time and with other equipment. But the live recording allows us to do much better arrangements for us and our songs. That is to say, however, that it can always be interesting, with samples work. And that’s why we have done on this album. ”
“We actually go there to produce our own samples,” said Juergen von Knoblauch. “From ‘Let Me Show Ya’ We have stripped back the sound-world (and ourselves to make sampled) and then ‘So Far From Home” with Phonte from it. Especially the end, we have created when composing, arranging and the recordings already so that we are behind you sampling. As a sample we could then adapt it exactly to our needs, because we have access to all parts separately. In the end – otherwise would not Jazzanova Jazzanova – were thus created tens of versions and parts taken apart and reassembled like a jigsaw puzzle. That was extremely meticulous and time consuming. “We tore this work, the borders,” says Stefan Leisering. “Our goal was not minimal, but at most”.
Unlike the past, the recording and production emerged on many analog devices. “Of course, we use a lot of digital technology, but the sound that we seek, we find especially with analog devices,” said Axel Reinemer. And to stand Jazzanova also like a few tons of mixer or tape machine into the studio, which must of course be organized from afar.
Your effort is immense, but you can hear in all the fun that must have arisen with this unique music. It is to be happy when create the full harmonies paired with silky strings and voices over lush beats and bass. They have managed to compose songs that can be carried away by the enthusiasm and savvy arrangements and multi-layered sound levels.
“DJs and producers tend to have somewhat anonymous, are not recognizable as an artist.” And so a personal style is important in the flood of new music that is breaking out every week about us.
When asked whether they had become after many successful years, now grown and with this album might also want to withdraw something from the club life answer, all clearly linked to the question: What do we mean by club music? “We are of course still in the club context, because it is just fun to us,” says Alexander Barck. “But our next goal is the implementation of our live music and this album.” And obviously, the songs from the album, of course, also work in the club. “Soul and hip-hop dance music is just so,” says Stefan Leisering. “Logically ‘Little Bird’ is not a club song, but we wanted to make no dance album.” “If you write your own songs, you come to a larger repertoire to include. From the outset, with live instruments, was the next important step.”