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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