| Jazz |
If I wish to talk to you about this 2022 album by the composer and saxophonist Tobias Hoffmann, it is in anticipation of a forthcoming article where I will discuss his next album, which will be released this September. This is undoubtedly one of the most impressive European big bands, alongside the WDR Radio Big Band, of course, but this one draws much more from classical music and traditional jazz forms, while also happily venturing into other jazz styles at times. It should also be noted that Tobias is a highly sought-after musician, composer, and arranger for a wide variety of ensembles and styles. Concert tours have taken him to several European countries. He has played with musicians such as Bob Mintzer, Joe Gallardo, Alexander von Schlippenbach, Paul Kuhn, John Clayton, and Benny Golson. Needless to say, these are impressive references in the world of contemporary jazz creation in Europe.
Since classical music forms the foundation of this big band’s structure, it’s essential to know how to navigate between the classical and jazz worlds. I would say that the most classical parts of this album strangely remind me of Purcell or Monteverdi’s madrigals, although there is no singing here. But in the way the sound spaces are used, one could imagine them ultimately arranged by Ravel. Then the jazz elements layer on top like in a musical exhibition, bringing a nearly extravagant brilliance. Behind all of this lies a broad vision of current creation in Europe. Many European musicians have long broken all the rules. Here, there is a very personal touch from Tobias, who does not deny his origins and has the ability to skillfully fuse them with jazz. It’s elegant, intellectually profound, and in my opinion, this is why most European jazz artists are among the best. Other artists like Médéric Collignon, for instance, also draw heavily from the classical repertoire and create equally modern wonders.
So, one must take the time to listen and re-listen; a very good audio system is recommended to appreciate Tobias Hoffmann’s compositions. Nothing in his work is immediately obvious. Some may find his approach too classical, but in reality, it is not. The classical form is merely the backdrop upon which his vision of jazz is convincingly layered. Thus, we explore all facets of this work. ‘Conspiracy’ is like a cultural brew that has been steeped for several days, like a sonic tornado that hits you head-on and makes you feel alive—the kind of album that takes you by surprise.
‘Conspiracy’ is therefore a very special, rich, and impressive album that will require time to fully experience its artistic impact, and believe me, there are many. Soon, I will talk to you about his next CD, ‘Innuendo,’ another little marvel that should resonate with you. But for now, know that we place ‘Conspiracy’ on our list of “Essential” albums.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, August 8th 2024
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