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The Theremin in the pop and jazz history - serves an exotic "sound spice"

(The theremin artist Barbara Buchholz. Photo: PR)

The Theremin in the pop and jazz music? The first to have used the seldom-used original form of electronic musical instruments in the pop field, could not be more Dada-Naive-Desert Blues-Captain Beefheart and the Avant-garde pop-and-surf Kings Beach Boys.

In April 1967, took Beefheart's Magic Band and his then the material for his first official album "Safe as Milk" - as a guest was famous for his recording of the song "Electricity" and "Autumn's Child" The renowned theremin player Samuel Hoffman invited. These two recordings were among the last to Hoffman made - since the early forties, who trained Fußorthopäde and professional violinist was in his bar and entertainment bands, the theremin is popularized, was always to create music and background sounds for horror and sci-fi films have been invited by Hitchcock's "Spellbound" (1945, German title "Spellbound") to William Beaudine "Billy the Kid vs. Dracula" (1966). In particular, the howling, spherical sounds Hoffman contrast to the introductory riff of "Electricity" made this title - of course, in addition to the distinctive, rough vocals Beefheart - an early hallmark of the musician.

previously only slightly in February 1966, the Beach Boys had the instrumental tracks for the song "I Just Was not Made for These Times" (the song was recorded in April) included: the song then appeared in May 1966 the album "Pet Sounds", the eleventh studio album, the High Priest of the surf-pop. On this recording in the studio was the swing trombonist Paul Tanner was involved, which he played the theremin in the advanced Electro-Theremin (with rotary knob for the volume). The overall sound of the songs of this exotic instrument hardly played a role, unlike a few months later appeared Beach Boys single "Good Vibrations". There was Tanner Electro-Theremin hear clearly and counteracted the fresh-awful brash melodic and rhythmic opening sequence of the hit.

As long as these first, rare performances of the theremin in the pop and rock music may well be her - in the jazz tracks can be as good as this instrument does not and can not find such an early stage. This is certainly the fact that the disadvantages of the theremin in jazz particularly serious that it is playable as burdensome and only glissando-like. In any case, similar sounds were available from the end of the sixties synthesizers much easier . Generate

So it is not surprising that the theremin - as exotic and "sound spices" - is not used in contemporary jazz, and even more in the border area between jazz and contemporary concert music, in the swing and bop.

here has distinguished himself above all the Italian multi-instrumentalist Vincenzo Vasi. His contributions in theremin Gianni Gebbias Switters are unmistakable, giving the trio a strong, unmistakable sound, shine with solo performance, achieve an almost typical rock intensity - to explain, but the Vasi feels inspired by Captain Beefheart. Something really special is Vasis Etherguys band, a trio, in There where only three Mini Sten play next Vasi still living in Italy and the Swiss Sabina Meyer also now on the "boots" resident Japanese techno and electronic avant-garde Gak Sato.

By Barbara Buchholz is now one of the most profound theremin players ever comes to Dresden. Together with Lydia Kavina, the grandniece of the inventor, Lev Sergeyevich instrument terms (1896-1993), who called in the west later Leon Theremin, founded Barbara Buchholz 2005, the platform "Touch! Do not Touch! "For the theremin in new music. As a master student of Lydia Kavina she studied in Moscow and is now one of the leading virtuosos in this extraordinary and rare instrument. In the field of jazz and improvised music, she performs in various ensembles, including a trio with Norwegian trumpeter Arve Henriksen and Jan Bang live electronics. She toured with the Jazz Big Band Graz as part of the production "Electric Poetry & Lo-Fi Cookies" which was recorded on CD. In performances with her solo program "Theremin: Russia With Love" can help Barbara Buchholz is from the artist Pedda Borowski.

Buchholz played on 26 March 2010 with Pedda Borowski to Jazz Festival worlds Dresden 2010th

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Gianni Gebbia and Eiko Ishibashi & Lioneiko Joraku enthusiastic than in the "bin" Dresden

(27 February 2010: Gianni Gebbia - alto sax - and Eiko Ishibasi - here on the drums, or even piano, flute and electronics - in the Jazz Club Neue Tonne Dresden. Photo: Wolfgang Zimmermann) Guaranteed

: Would a Maestro Giacomo Puccini in his idyllic villa in Viareggio, on the Mediterranean still active account, he would have Eiko Ishibashi and Gianni Gebbia long since embraced in his orchestra. But Puccini was also known among other things, that he was always eager for new, unusual and hitherto unheard music. And the Japanese-Italian duo - which is sonorous calls "Joraku & Lioneiko" - it would have exactly such a new, unusual and hitherto unheard-of music can provide. Pity, hear the result of such cooperation, certainly a treat for body, soul and ear had been.

speculations of this kind are of course pointless, but the impression that the concert of the Japanese Eiko Ishibashi with the Sicilian Gianni Gebbie 27 February 2010 has left the well-filled jazz club New ton, was anything other than this dainty with the Japanese multi-instrumentalist Eiko Ishibashi blew suddenly very unusual sounds through the sandstone arches. A fragile, very delicate and understated piano playing penetrated into every corner of the vault. And a melody so strange and mysterious as the Far East, most Europeans today still represents floated, in the unhurried pace over the heads of the audience. Eiko Ishibashi even such a fragile creature is translucent, with a solid and deep into the end of a flower adorned felt hat she's sitting on the wing and coaxed him this almost sounds unreal. The pay and nothing of its mysterious aura, as Gianni Gebbias saxophone mixes below.

On the contrary, Gebbia accepts the offer of Eiko Ishibashi willingly and reduces the volume of the usual saxophone several times. And at the end of the game is a common become thoroughly romantic date; a meeting of voice, piano and saxophone. Too beautiful this music seems to sort them at all in the subject of jazz want or need. And it happened exactly, what actually characterizes the Jazz. The vaunted harmony suddenly finds its end and the music now is like a raging orgy. Wild and boisterous shouting loudly the saxophone and is contrary to the piano. And because of the so-gently acting Eiko Ishibashi this contradiction probably still appears too moderate, she suddenly leaves the piano stool, sits down at the drums and thrashing there all their emotions powerfully in the direction of the partner. But it merely a dispute at the level of music and can not ultimately be irreversible, but only work promoting.

Two CD's have the two together now taken already (one of them, with Daniele Camarda, has for some time been published, the second is to follow a couple of weeks) and breadth of the material of these two discs are working the program of the night. These include more visual-audio gadgets. For instance, when Gianni Gebbia a rubber glove stretched over the funnel of his gramophone and get up the five fingers by the intensity of his game and can again coincide. This is something of a standard number of the Sicilian. And she was already in his repertoire when he and a half years ago, a different line in Dresden played.

before Gebbia has a good solid relationship with the Saxon capital, among other things, also based on years of collaboration with jazz drummer Günter "Baby" Sommer. That was when the music for orchestras in Sicily was already past him already and he will strengthen cooperation with the jazz musicians of Europe and also from overseas looking for. When Peter Kowald was alive, connected the two a very close friendship. The dance theater Gianni Gebbia interested in burning, he also worked together during their life with the choreographer Pina Bausch.

Cooperation with Eiko Ishibashi is a next and then some of the other station experimental Sicilian (by the way, two days after the concert - March 1, namely - celebrates his 39th birthday), which arises from his unrelenting curiosity. And its underlying concept also persists even when both one of the rock band Uriah Heep played and later by the Norwegian saxophonist Jan Garbarek edited number to add a completely different and completely new variant. Or if suddenly heard a cheerful and typical Italian folk music. Ultimately, supply Eiko Ishibashi and Gianni Gebbia a most exciting and creative dialogue, and relies their flute and he his saxophone. As this dialogue ends? Of course a draw!

Wolfgang Zimmermann