| Jazz |
I was telling you not long ago about this composer and saxophonist in another article here regarding his album ‘Conspiracy,’ released in 2022.
A peaceful album that connects with the previous one through this first album, at least in the first two tracks. It’s peaceful because Tobias Hoffmann has managed to completely blend his two passions—classical music and jazz—by perfectly fusing them and incorporating other musical styles. The album opens with the title track “Innuendo,” which pays homage to the legendary rock band Queen. From a young age, Hoffmann was fascinated by the changes in mood and emotion that unfold in this composition. His “Innuendo” captures this multifaceted spirit, combining various aspects into a single dynamic piece. We enjoy navigating through the tracks, which are incredibly rich in composition, almost to a mind-boggling extent. There’s even a sort of magic that emanates from the compositions, indeed, one can notice the delicacy and depth of Tobias Hoffmann’s intellectual approach, as he masterfully blurs the lines.*
The final track of this album particularly amused me; when it ended, I felt like a spectator eagerly awaiting the next season of a show. This often happens when facing a major artist. Consider this album a work of art, with the last track, “Perseverance,” leaving open possibilities—likely the starting points for the next album. There’s undeniably a Hoffmann style, or rather, I should say, a universe that makes him perfectly compatible with different art forms. One could imagine this same composer working on film scores, jazz operas, or even ballets—so many artistic avenues where Tobias Hoffmann could excel. There’s also a noticeable progression in the tracks on this album, as the composer develops his craft, making it more complex with the help of excellent musicians who are clearly in perfect harmony with this work, all under the direction of Tobias Hoffmann himself.
We always appreciate this kind of acoustic form, which gives the works a lasting quality, fully realized in this type of musical writing or architecture, if you prefer. Hoffmann is a composer who evolves as naturally as he breathes, seeming to care as much about substance as form. This captivates us, makes us sometimes listen to a track again just to make sure we’ve heard everything correctly, and in the end, makes us wish to see this beautiful ensemble perform live. Because even with very good speakers, we miss the grandeur that the brass sections bring in the reality of a concert hall. This is essential because this kind of music must live. It has a universal quality that deserves to be highlighted in this culture we defend, often labeled as elitist, but that elevates us, makes us vibrate, and think. This is the essence of art, which can and sometimes must be subversive. Tobias Hoffmann is one of those artists who not only do things out of conviction but because it is essential for them. Art cannot be controlled, and within a few days, this artist’s second album has joined our collection 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 11th 2024
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Saxophones & Woodwinds:
Florian Trübsbach (Alto Saxophone, Soprano Saxophone, Clarinet & Flute)
Patrick Dunst (Alto Saxophone, Soprano Saxophone, Clarinet & Flute)
Robert Unterköfler (Tenor Saxophone, Soprano Saxophone, Clarinet & Flute)
Martin Harms (Tenor Saxophone, Bass Clarinet, Clarinet & Flute))
Jonas Brinckmann (Baritone Saxophone & Bass Clarinet)
Trumpets & Flugelhorns:
Maximilian Seibert
Sebastian Burneci
Florian Menzel
Gerhard Ornig
Jakob Helling
Trombones:
Simon Harrer (Trombone)
Robert Bachner (Trombone & Euphonium)
Daniel Holzleitner (Trombone)
Johannes Oppel (Bass Trombone & Tuba)
Rhythm Section:
Vilkka Wahl (Guitar)
Viola Hammer (Piano & Synthesizer)
Ivar Roban Krizic (Double Bass & Electric Bass)
Reinhold Schmölzer (Drums & Electronics)