In the current version of the famous german Jazzmagazin JAZZPODIUM was published a double-sided interview with Andreas Brunn. The new FOR FREE HANDS CD “Kaleidoscope Freedom” is a point. Here’s an excerpt:
Jazz is a wonderful open system – Andreas Brunn
In 2007, we had presented the restless Weimar conveyor and initiator of multi-ethnic encounters in the portrait, a man who brings multiethnic musicians together. As before, his way of playing acoustic guitar, his composing and penchant for the odd time signatures and bulgarien polyrhythms are striking and distinctive features of his work.
He travelled with a young music caravan (founded by himself) across the Balkan States and as far as Finland while he still teaches youngsters how to play conga. He founded few bands like For Free Hands, BalkaNova, and also a duo with the virtous musician Hans Hartman, who plays the chapman stick. So that’s why everything in this interview seems familiar but although new. (Alexander Schmitz)
The new album „Kaleidoscope Freedom“ is the peg for this interview except for the fact that we had our first interview eight years ago.
“Kaleidoscope Freedom ” is a very important album for me. In a really difficult phase of my life , I put all my the energy into this album. For me it’s a musical and also a substantive statement! And of course I have indeed developed my way of thinking and composing in these eight years.
But your stylistic philosophy has proabably not changed much – jazz with European elements , odd time meters (rythms), Bulgaria …
Yes, and a new focus polyrhythmic concepts have been added for the last compositions. For example, I use a Balkan – meter, but at the same time a normal 4/4, and with that basis I created a composition so that both can be heard on an equal footing, as, for example, in ” Perpetuum five” on “Kaleidoscope Freedom”. This way emerges a different kind of rhythmic play who allows you to search for the best metres, on which to improvise. You have the freedom to switch between two concurrently running time streams back and forth. Very exciting.
It’s like if you’re playing jazz inside/outside…
Exactly! It is a kind of rhythmic Inside/Outside game. I was also inspired by Avishai Cohen who composed wonderful polyrhythms, like for example on the Piano Trio – plate “Gently Disturbed”.
“East Side Story” with Vladimir Karparov and now “Kaleidoscope Freedom” by FFH – are titles with contemporary historical associations
In 1988 I moved to East Berlin into an apartment close to the wall and I experienced the fall of the wall almost at first hand and the origin of the East Side Gallery and its further development. This piece of wall Berlin has a special significance, as here , the euphoria of the Wall overcoming manifested artistically. In November, the Berlin Wall has gejährt for the 25th time . I wanted to give to these CDs a message. A tribute to freedom and the good in the music and the good in humanity. This has to do with my own history , for , as my experience with the Stasi prison, but also with many very sad developments in the recent past. This must not stay in focus, but is always there and helps me to compose. That’s why this message is very important to me.
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