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Autor: Muriel Grossmann
Review of Universal Code by Tim Caspar Boehme, HHV Magazin, Germany
Review of Universal Code by Tim Caspar Boehme,
HHV Magazin, Germany, 28.06.23
The term “Universal Code” encompasses a remarkable collection of different types of character sets. First, there is Unicode in typography, then genetics, where the word refers to DNA. It also has a function in programming languages and even in ethics. In the album “Universal Code” by saxophonist Muriel Grossmann, who lives in Ibiza, her music itself serves as another meaning. It is a modal jazz that appeals to the spiritual through its polyrhythmically complex groove, without neglecting the body as another recipient. Her long pieces with extended improvisations effortlessly propel forward, deriving strength from highly disciplined ensemble play, where flexing muscles is not part of the gestures. Muriel Grossmann and her three collaborators — guitarist Radomir Milojkovic, Llorenç Barceló on Hammond organ, and drummer Uros Stamenkovic, with bassist Gina Schwarz supporting them in some tracks — engage their audience in this manner. The compositions of Muriel Grossmann possess too much elegance for that purpose. Upon the initial impression, this approach may seem outdated, but over the course of nearly seventy minutes, which “Universal Code” claims, it simply proves to be a classic vocabulary that derives its modernity from the fact that these melodies and harmonies, these phrasings and accents, all naturally fall into place and speak directly to the listener. The first three tracks are named “Resonance,” “Clarity,” and “Interconnection,” precisely describing what the music does to you.
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Album Review for UNIVERSAL CODE by Jan Hocek in SKJAZZ.SK, 02/03/2023
ALBUM REVIEW for UNIVERSAL CODE by Jan Hocek in SKJAZZ.SK, 02/03/2023
Since 2007, the Austrian (though born in Paris) saxophonist and composer Muriel Grossmann has been releasing albums of extraordinary quality and artistic depth. She has been living in Ibiza since 2004 and has developed a distinctly spiritual approach to modern jazz. She thus develops the legacy of John Coltrane, combines African music, modal jazz, gospel, blues, free jazz, acid-jazz and Eastern traditions in a completely natural, complex, expressive, rhythmic and narrative manner with full-blooded vigor and sensitivity at the same time. After all, we already reviewed four of her previous albums here: CD Muriel Grossmann – Momentum (Dreamland Records, 2017), CD Muriel Grossmann — Reverence (Dreamland Records, 2019), CD Muriel Grossmann – Quiet Earth (Dreamland Records, 2020) and CD Muriel Grossmann — Union (Dreamland Records, 2021) and with enthusiasm. On the new recording, she found a true universal code of modern jazz; together with her teammates, she literally created the essence of the most vital, the most enduring jazz, regardless of current fashions and trends. After all, there are really excellent instrumentalists playing in her quartet. Guitarist Radomir Milojkovic, a native of Belgrade, studied music in Barcelona from 2002, then performed and recorded with, for example, Christian Lillinger, Johannes Fink and Joachim Kühn. He has been living and working in Ibiza since 2007, where he became a regular teammate of Muriel Grossmann. Organist Llorenç Barceló was born in Mallorca, ten years ago he worked in the European Jazz Orchestra, with David Murray and his band accompanied James “Blood” Ulmer on his European tour. He currently plays extensively with African musicians, is a member of the Ghost Seed trio, and since 2018 has also been playing with Muriel Grossmann. Drummer Uros Stamenkovic from Belgrade studied and worked in Barcelona, from where he moved to Toronto, Canada in 2008, later to New York, and returned to Serbia in 2013. A year later he started working with Grossmann. Austrian bassist Gina Schwarz, who certainly does not need to be introduced here, is a guest on three tracks (out of nine). I’ll admit that her double bass in Transience is intoxicatingly captivating; however, her virtuosity is not an end in itself, on the contrary, it expands the expressiveness of jazz by a directly physical dimension. After all, right from the opening, nine-minute long track Resonance, the listener is exposed to the attack of something almost otherworldly, simply indescribable. The rhythmic flow is saturated with acid, the organ is psychedelically blurred, as if cracked, everything has a hypnotic effect. And over that rolls a melodious and passionate saxophone, beating from the heart, from the inside of a woman, which has turned into a pulsating, expanding Universe. The soprano in particular, with her ferocious melodiousness, enhances the spiritual effect of the music; in addition to Resonance, there are also the tracks Clarity, the more than ten-minute long Interconnection and Essence). However, it must be added that the entire album does not have a single weakness and if you let yourself be absorbed, you will be rewarded with an extraordinary listening experience that has the power to truly enrich your life. It’s not just music, it’s something that transcends a person… Of course, I’m belatedly including this album in my Top 10, or rather now Top 11!
Jan Hocek, skjazz, Slovakia
They play:
Muriel Grossmann – soprano, alto and tenor saxophone
Radomir Milojkovic — guitar
Llorens Barcelo Vives — Hammond organ
Uros Stamenkovic — drums
… and guest:
Gina Schwarz – double bass
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Universal Code Album Review by Patrick Španko in Skjazz.sk on 02/03/2023
Album Review by Patrick Španko in Skjazz.sk on 02/03/2023
Since 2007, the Austrian (though born in Paris) saxophonist and composer Muriel Grossmann has been releasing albums of extraordinary quality and artistic depth. She has been living in Ibiza since 2004 and has developed a distinctly spiritual approach to modern jazz. She thus develops the legacy of John Coltrane, combines African music, modal jazz, gospel, blues, free jazz, acid-jazz and Eastern traditions in a completely natural, complex, expressive, rhythmic and narrative manner with full-blooded vigor and sensitivity at the same time. After all, we already reviewed four of her previous albums here: CD Muriel Grossmann – Momentum (Dreamland Records, 2017), CD Muriel Grossmann — Reverence (Dreamland Records, 2019), CD Muriel Grossmann – Quiet Earth (Dreamland Records, 2020) and CD Muriel Grossmann — Union (Dreamland Records, 2021) and with enthusiasm. On the new recording, she found a true universal code of modern jazz; together with her teammates, she literally created the essence of the most vital, the most enduring jazz, regardless of current fashions and trends. After all, there are really excellent instrumentalists playing in her quartet. Guitarist Radomir Milojkovic, a native of Belgrade, studied music in Barcelona from 2002, then performed and recorded with, for example, Christian Lillinger, Johannes Fink and Joachim Kühn. He has been living and working in Ibiza since 2007, where he became a regular teammate of Muriel Grossmann. Organist Llorenç Barceló was born in Mallorca, ten years ago he worked in the European Jazz Orchestra, with David Murray and his band accompanied James “Blood” Ulmer on his European tour. He currently plays extensively with African musicians, is a member of the Ghost Seed trio, and since 2018 has also been playing with Muriel Grossmann. Drummer Uros Stamenkovic from Belgrade studied and worked in Barcelona, from where he moved to Toronto, Canada in 2008, later to New York, and returned to Serbia in 2013. A year later he started working with Grossmann. Austrian bassist Gina Schwarz, who certainly does not need to be introduced here, is a guest on three tracks (out of nine). I’ll admit that her double bass in Transience is intoxicatingly captivating; however, her virtuosity is not an end in itself, on the contrary, it expands the expressiveness of jazz by a directly physical dimension. After all, right from the opening, nine-minute long track Resonance, the listener is exposed to the attack of something almost otherworldly, simply indescribable. The rhythmic flow is saturated with acid, the organ is psychedelically blurred, as if cracked, everything has a hypnotic effect. And over that rolls a melodious and passionate saxophone, beating from the heart, from the inside of a woman, which has turned into a pulsating, expanding Universe. The soprano in particular, with her ferocious melodiousness, enhances the spiritual effect of the music; in addition to Resonance, there are also the tracks Clarity, the more than ten-minute long Interconnection and Essence). However, it must be added that the entire album does not have a single weakness and if you let yourself be absorbed, you will be rewarded with an extraordinary listening experience that has the power to truly enrich your life. It’s not just music, it’s something that transcends a person… Of course, I’m belatedly including this album in my Top 10, or rather now Top 11!
They play:
Muriel Grossmann – soprano, alto and tenor saxophone
Radomir Milojkovic — guitar
Llorens Barcelo Vives — Hammond organ
Uros Stamenkovic — drums
… and guest:
Gina Schwarz – double bass
About this Album — Universal Code
MURIEL GROSSMANN — UNIVERSAL CODE
LINER NOTES from the original album cover by Thom Jurek:
Since 2007, saxophonist and composer Muriel Grossmann has been releasing albums of uncommon quality and depth. After arriving in Ibiza from Barcelona in 2004, she has created a distinctively individual approach to spiritual jazz. Building on a sound developed in the 1960s by the Coltranes and others, Grossmann’s approach joins African music, modal jazz, gospel, blues, free-jazz and Eastern traditions with a fluid, nearly elastic polyrhythmic sensibility.
The Paris-born, Vienna-raised Grossmann believes our evolution towards enlightenment is already engraved in our being, our humanity. While physical DNA evidences it biologically, our path according to Buddhist belief, no matter how many lifetimes we inhabit, always moves towards an awakening that transcends, and ultimately frees us from DNA’s biological limitations. Music, a form of communication that exists beyond spoken language transcends its own formally notated DNA. Grossmann employs her experiential and learned musical and life knowledge, linking them to a profound desire to ease the suffering of others, and to encourage evolution toward enlightenment and freedom.
This music on Universal Code is long on contemplative, instrumental dexterity, as well as harmonic and rhythmic invention. Its spiritual aspirations are articulated via interrogative melodies, poignant solos, and interwoven grooves that resonate inside the listener’s ears, mind, and body. Universal Code features Grossmann’s quartet on six tracks that bookend three (“Transience,” “Essence,” and “Non-Duality”), with a quintet that includes double bassist Gina Schwarz. Belgrade-born guitarist Radomir Milojkovic has been working with Grossmann since 2002. His rounded tone and endless curiosity add immeasurably to the group’s questing approach. Serbian drummer Uros Stamenkovic and double bassist Gina Schwarz (herself an Austrian bandleader and recording artist) joined for 2016’s Natural Time, trademarking the collective’s unique approach. In 2018, Hammond B‑3 organist Llorenç Barcelo, from the neighbouring island Mallorca, joined the band, appearing on 2019’s Reverence, 2020’s Quiet Earth and 2021’s Union.
The music follows a winding aural road from intention to impression to perception, and from awareness to transformation and ultimately, transcendence. “Resonance” commences with a tom tom break, probing guitar chords and a B‑3 vamp. Grossmann’s soprano enters on the second chorus as the ensemble’s rhythms begin percolating. She rides the mode, creating an Eastern-tinged swing. Milojkovic’s snaky guitar break engages blues and postbop. The B‑3 bassline in “Clarity” is assertive atop glistening hi hat cymbals, a pulsing electric guitar vamp, and Grossmann’s soprano in midflight. The quartet interlocks in a different cadence on the bridge before she delivers a serpentine sax solo that slides around her bandmates before emerging in the center. The urgent “Interconnection” offers counter rhythms balanced by guitar and organ in call-and- response fashion while Grossmann solos. Her skeins of notes flow before her band’s incessant, driving motion breaks down into funky soul jazz while Milojkovic’s solo channels Grant Green.
Schwarz’s deep, resonant, woody tone introduces “Transience,” atop syncopated rim shots and a wafting organ groove before Grossmann’s wandering modal lyric offering modal statements from the Arab and Spanish worlds. Schwarz is a guiding presence on a glorious meld of modal jazz, spectral blues, spacious R&B, and polyrhythmic inquiry on “Non-Duality,” culminating in Grossmann’s authoritative, deeply expressive tenor. Schwarz adds a “walking” presence to “Essence” that transcends the trappings of 12 bar blues even as her bandmates revel in them.
The quartet returns with the more rhythmically propulsive “Liberation.” Introduced by a circular B‑3 bassline and a fluid guitar vamp, Grossmann’s tenor delivers the head with Stamenkovic’s kit flowing, filling and driving alongside her. Her tenor solo soars above the quartet’s spacious, nearly breathing grooves. “Post-Meditation” finds Grossmann on flute as well as tenor. The loose minor mode provides a solid blues flavor that Milojkovic transforms into jazz-blues with a funky solo. Grossmann’s knotty, labyrinthine tenor break traces his invention wedding both themes, accompanied only by Stamenkovic. Closer “Compassion” a nearly raucous party track, offers a lyrical, swinging midtempo ballad, alternating with a finger-popping rock with a soul vibe framed by marimbas, biting guitar and tenor sax. For Grossmann’s band, this spiritual journey ends with the celebration of arrival. These musicians communicate an aural, instructive journey through emotions, spiritual states, doubt, and awareness collectively and individually. Universal Code is an achievement. It frames their utterances, questions and discoveries in a visionary yet warmly welcoming approach that exponentially extends the spiritual jazz tradition in the 21st century.
~ Thom Jurek, is an author, poet, and senior writer All-Music Guide.
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Article of Mihály Czékus in HangzásVilág Magazin Hungary, Aug/2021
Article of Mihály Czékus in HangzásVilág Magazin Hungary, Aug/2021
Mihály Czékus in HangzásVilág Magazin Hungary, Aug/2021
LLORENÇ BARCELÓ organ
(Mallorca)
Llorenç was born in 1988 in Mallorca and began playing piano at the young age of 4 years at the school in Manacor. With 14 the change to the organ. Later he completed the course the studies of higher music in the workshop of musics. In 2012 he was selected for a tour with the European Jazz Orchestra and recorded an album in Kiev, Ukraine. He has also worked in David Murray’s Blues Orchestra accompanying James “Blood” Ulmer in several European capitals.
He currently works with the Amazones d’Afrique, accompanying a large number of African artists; Rokia Koné, Kandia Kouyate, Nneka, Mamani Keyta, Pamela Badjogo, Mariam Doumbia … Currently he is also a member of the band “Ghost Seed” an organ trio formed by the great guitarist Jean-Paul Bourelly, ex-guitarist of Miles Davis , and Dani Dominguez on drums.Since 2018 he forms also part of the Muriel Grossmann Quintet. In 2022 he went on a tour around the world for half a year with Rosalia.
Concert photos of Francisco Miro Moll. Muriel Grossmann Quintet in Sala Albert Camus, St. Louis, Menorca, 27th of September 2019
Portrait in Jazzpodium by Thorsten Meyer, Feb 2019
PORTRAIT by Thorsten Meyer for JAZZ PODIUM, Germany, Februar 2019
Sometimes it is coincidences and moods that point the way in new directions. For the saxophonist and composer Muriel Grossmann, it was both musical and biographical moments that paved the way for her release of her tenth record “Golden Rule”: “As long as I can remember, I wanted to travel, and I have done it since I could do it myself, by car or motorcycle. Since then I’ve always been on the road. I knew just about where I wanted to go and then the way was leading me. Then once, when I was again in Vienna for a longer time, I realized that I did not want to stay there. It was always too cold. I need sun and the sea. I said, “That’s it! I drive south. “A friend and I bought a bus and then we went. I only knew that I wanted to go to Morocco. But the bus collapsed before in Barcelona. Then I was stuck from one day to another — and it was great! ”
Born in Paris, but living in Vienna since the age of 4, Muriel Grossmann undertook an intricate musical journey until that Barcelona trip. The father’s classical record collection provided early inspiration, the first steps were made in different ensembles with the flute, the first own songs in the singer-songwriter idiom were written on the guitar. But there was more. The saxophone exerted an insatiable fascination, and after various detours Grossmann then found her voice there: “With the saxophone you can play all styles. At first I played a lot of soul, R & B, world music, also jazz. I could try a lot, played to a lot of records. Then it was clear. ”
Muriel Grossmann’s CD releases are an evolutionary story. The roots of the various CDs are developments of previous recordings. The initial spark was the involuntary, and then so pioneering forced stay in Barcelona. There she met the Serbian guitarist Radomir Milojkovic in 2002: “We complement each other insanely. There is the same fire for the same music. It’s great fun to play live together. We have a passion for working on pieces, no matter what style it is. What he then brought to my music is that there is one who carries me. I can do it the way it should be. It’s also rare to find someone who says, “Your music, wow. I want to work with you on it. “I get inspiration for my music immediately. I keep developing his idea, and he mine. This dynamic is amazing. ”
The two played in lot of different contexts. In 2003 Grossmann then went to Ibiza to know the island and immediately got into the scene there and decided to move there and Radomir caught up with her there in 2006. The island has been their center of life ever since. “Ibiza is the Mecca of inspiration for me. Because of the light and the sea, the air, because of the nature. I would write completely different music if I had stayed in Vienna. I could not have developed this music like that there. My music is very connected with nature. Listening to my music with headphones makes you feel like you really hear nature. It is pulsating. There is life in it. ”
In Ibiza she entered the scene right from the beginning, and met another famous jazz musician who set up his domicile there: Joachim Kühn: “When I first came to the island, I came to a session where there were 20- 30 musicians. It was a small room, all playing simultaneously, and Joachim on the saxophone right in the middle. I know him a lot on the saxophone because he always came with it to the sessions and we played together. We then became friends, and I was often at his house. We then listened through his incredible record collection, and of course through his own records. He did over 300. He has a story to tell about every musician because he almost met everyone. Either playing, or in the neighboring studio, or on festivals. And besides, he is such an intense person that he also has intense stories. That was certainly my biggest musical influence. His harmonic system also totally influenced me. In the time when I played avant-garde, you have to imagine it as if everything around me had exploded. A complete reorientation. And that’s how I started writing intensively, of course. ”
After making recordings with her first quartet, Grossmann got in touch with other musicians through Joachim Kühn: drummer Christian Lillinger and double bassist Robert Landfermann.
They played together at the Eivissa Jazz Festival in 2011 and released the 2013 recording on the CD “Awakening”. A programmatic title, because the recording and its consequences triggered something, which drew its circles until the new CD “Golden Rule”: “The encounter with Joachim first made my standards freer. And then it went right into the avant-garde, and I came to musicians like Christian Lillinger and Robert Landfermann. That’s when I took a different turn, and that came from engaging in this meditation. That was at the time of “Awakening”. The influence of spiritual jazz already is audible.”
The central landmark was the next CD “Earth Tones” (2015). Here Grossmann worked for the first time with very special drones as scaffolding and at the same time inspiration for the musical events. During a winter in a house in the mountains, surrounded by a lot of forest and little civilization, a gong-CD was played late at night. The idea for the Drones was born: “There is an idea behind it what I want to write about. This idea comes from the fact that I reflect a lot on different things. Some are inward, some outward. With “Earth Tones” I thought I needed a message for the people that we all help together and take care of the earth. And so the respective album is created immediately. It is not that I write this today and that tomorrow, but the concept is created in a very short time, usually in one day. At “Earth Tones” I first recorded these drones, linearly. Not per piece, but per album. I started with the tambura as a base. The concept was that I wanted to write something for the Earth, and supposedly Earth has the tone of C Sharp/D Flat. Of course, I can not verify that (laughs), but then I took that and wrote a overtone-tone series where I changed just one tone, and assigned the pieces to it. Therefore, the pieces also all have a gradual change in pitch. That’s always very important to me. It’s like a scale swinging in the background of the suite. If you listen to the album from start to finish, it’s a big scale. So I knew in which keys I wanted to write the pieces. I then played all the pieces with the tambura first. Now, of course, a dynamic came out, which started quietly, slowly increased and finally dropped again. And then I took the next instrument, and then the next, and so on. Then I had all my drones and took my saxophone and played with it. From front to back. And then Rade made the guitar drones, and then Christian and Robert later played on it. ”
Each CD can be understood as a suite. The individual pieces always fit under an overall arc and a resonant content theme. For this music, it requires co-musicians who support this way of playing and working 100%, and besides Milojkovic, Grossmann has chosen since the 2016 album “Natural Time” for this quartet Milojkovics compatriot Uros Stamenkovic on drums and Grossmanns Vienna colleague Gina Schwarz on bass. “After “Earth Tones” I wanted to write something that had this meditative idea, but also swing, and Radomir then told me to call Uros. They have known each other for a very long time. For me he is my Elvin Jones (laughs). He is a great drummer. Of course we also had opportunities to grow together. At first we went on tour with “Natural Time”. And then he’s here for three months every summer. I just brought Gina because I always wanted to do something with her. She is a monument! What a forcé she has! And her phrasing is always “Jazz”. We do not need to talk much about that. She always played as I like it anyway. Although she otherwise plays very different music too. But she has such a Groove, such strong fingers! It’s not so easy with this music, where you have to play 15 minutes through. ”
“Golden Rule” is the third CD of the current quartet, and here the drone principle, as already on the predecessor “Momentum” (2017) is integrated in another way: “The Drones come out of the play. Since then I have heard the pieces after recording and then I know what I want to have on each one. First and foremost, the sounds are important. I keep these drones more or less secret, in their composition. The listener can get curious what instruments are played, or even suddenly perceive something. On “Momentum” there are e.g superimposed double basses. In “Golden Rule” Marimba, Kalimba, it is also more in the African direction. That’s how I can play with the harmonies. I give the quartet these harmonic sound sheets. That’s something from Coltrane. The song gets thereby a modal carpet. In the accompanyment, I can use then different tones, and like this a sound spectrum unfolds. ”
Muriel Grossmann does not want to deny the influence of John and Alice Coltrane, on the contrary: In “Trane” and Traneing in “she explicitly takes the hat off of the two. “Although I always had the feeling that this development came out of me, Coltrane’s music has always given me so much, and I wanted to say thank you, a thank you for what he gave me in life. ”
With “Golden Rule”, Muriel Grossmann goes a step further in terms of the publicity of her music. Since 2007 she has been releasing her CDs on her own label ‘Dreamland Records’. She appreciates the maximum artistic freedom, both in terms of music and the layout of the CDs, which so far have all been decorated with pictures of her and her children. For “Golden Rule” there opened a new perspective. The vinyl label ‘RR Gems Records’ released a double LP with a different layout two months before the CD reléase, with an alienated cover photo a Little orientated towards Coltranes Impulse! Vinyls, very suitable for the dense and multi-faceted music of “Golden Rule”.
But Muriel Grossmann is already one step ahead. Another quartet album with drummer Wolfgang Reisinger and bassist Peter Herbert will be available for release in 2019, and the next album with her quartet is already recorded:
“This will be the apotheosis of everything that was mentioned before, and it will definitely put everything in the right perspective and give meaning to the whole story. It’s just a continuity since “Earth Tones”. There, everything was dedicated to the earth to raise our awareness of our environment. “Natural Time” then says, “Find your own rhythm, your talent and pass it on to the world. What you have is valuable, and it should be geared toward helping others. “Momentum” is the sequel to this: ‘What would happen if everyone does that? Which momentum arises then? There are the good tendencies all over, but they mus trise over the critical mass. “Golden Rule” is about what you need to achieve this tilting. It is not without this principle: “Think / Say / Do only what you also would like to receive from otheres!” You have to see it from the inside out. ”
The exiting story of Muriel Grossmann will be continued.
Thorsten Meyer
News
8.1.2016 — 20.1.2016 NATURAL TIME PRESENTATION TOUR
1.1.2016 out now! Natural Time on Cd
with Radomir Milojkovic on guitar, Gina Schwarz on bass and Uros Stamenkovic on drums