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KONZERT

Lambert is today an enigmatic star of Europe’s neo-classical scene, sustaining an impish mystique since condemning his given name to obscurity and donning an ever present, horned Sardinian mask in 2014. Before his current, strange fame, though, he was a dashing melodic improviser in Bill Evans’ tradition, a jazz man to his bones. During recent gigs, as he’s played highly melodic, limpidly minimalist piano in the style that made his new name, attentive audiences will have discerned the ghosts of that old life, in passages of assured improv. The jazz musician inside him was otherwise buried deep. Now with his eighth album, All This Time, tellingly to be released on the great jazz label Verve (in partnership with his home label Mercury KX), Lambert’s musical mask is off – the improvisation unashamed, the freewheeling melodies unchained. Teaming up with bassist Felix Weigt and drummer Luca Marini, the trio blend jazz, modern classical and electronic elements and find a contemporary sound reminiscent of the likes of EST, Gogo Penguin and Portico Quartet but one very much their own.

As his delicately bluesy piano rolls through “Cry Me A River”, immersing himself in its smoky mood as electronic washes shimmer, and on the title track “All This Time”, an affecting soundscape that demonstrates a delicate, reflective touch, Lambert is playing in the virtual jazz club of his dreams. As he recalls, it took lockdown’s privations to bring him musically home. “I called Luca and said, ‘Please, I want to make some jazz music. During the worst lockdown, maybe this way of making music might connect us.’ It didn’t bring me back to jazz, though. It never went away. When I don’t know what to play, it’s always jazz I reach for.” That love started in another lifetime under another name, when Lambert was a 12-year-old in Hamburg, rebelling at his classical piano lessons, and sent instead to a new teacher’s seedy digs. “He had a small apartment completely dedicated to jazz music,” Lambert recalls, “and there was a feeling of a scene behind it that I didn’t completely understand, a secret club with arcane knowledge to be shared.” By the time he was 17, Bill Evans’ Explorations was his lodestar, listened to obsessively while also learning to smoke and quaff red wine. A romantic ideal formed. “I had a certain picture of a jazz lifestyle,” Lambert agrees, “and I kept on believing that this life must exist somewhere out there. I was completely sure that I’d one day be a touring jazz musician, and have my own style.”

Lambert’s studies at the Amsterdam Conservatory were often an exercise in disillusionment, as disapproving teachers brought him down. Moving to bohemian Berlin in 2008, its free improv scene was just as hostile to a young pianist who appreciated the popular, tuneful beauty of Bill Evans, and the further out melodic flights of Brad Mehldau and Keith Jarrett. A wild gig where the crowd roared on his Fender Rhodes solos aggravated more austere bandmates, who summarily sacked him. It was a turning point. “I got a little lost in Berlin,” he says ruefully. “I thought, ‘I have to become someone new.’ That was Lambert. The mask has something to do with that background. I thought, I need this guy to reinvent myself.” This new creation, bringing rock and pop notions of alter egos and mystery to neo-classical concert halls, was an instant hit. Lambert let the boy who’d been bruised by jazz become a new man. “When I started being Lambert, I was embarrassed by my jazz background,” he says. “The first album, Lambert [2014], was promoted in the neo-classical world, I used a more classical touch, and I got a great reception. I kept secret that I still identified as a jazz musician.” Beneath the mask, though, Lambert could be anyone. Liberated, he began to move between worlds. False (2020) and the Stimming x Lambert collaboration Positive (2021), combining improv with electronic production, dropped progressively greater hints at his secret musical identity. “And now,” he says, “I feel free to make an album that actually sounds like jazz.” Dedicating his early life to jazz, Lambert dutifully followed other people’s paths, and found only roadblocks and rules telling him he was wrong. The masked character of Lambert built his own path, which he was free to walk down as he wished. And now here he is, a jazz musician after all. “It took me a long way to get here,” he agrees. “And when I tour this album I will have a classic jazz band with drums and double-bass. As soon as people see that, what I’m doing will be clear.” The romantic jazz ideal he longed for, the secret world of knowledge, creativity and a Bill Evans-style trio – Lambert’s finally living it all.

Ralph Heidel:

MODERN LIFE heißt das neue Album von Ralph Heidel, welches im Juni letzten Jahres erschien. Der Saxophonist und Produzent steht für einen sehr eigenständigen Sound, der von seinem warmen Saxophon Sound, intimen Klavierthemen, sowie organischen, elektronischen Beats, geprägt sind. Heidel erschafft eine Sphäre in der all seine und unsere Gefühle Raum finden. Ihm gelingt es Stimmungsbilder detailreich zu skizzieren und lebendig werden zu lassen, ohne diese zu benennen. Nach seinem Debütalbum für sein Ensemble mit Streichquartett „Homo Ludens“, und einer elektronischeren EP „Relief“, folgt nun mit MODERN LIFE die Symbiose aus beiden Tonträgern. In seinem Solo Programm reduziert sich Ralph Heidel mit Synthesizern, Klavier und Saxophon auf das Wesentliche seiner Songs.

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10.06.2023

Einlass 19:00  // Beginn 20:00

 VVK 30 € zzgl. Gebühren // AK 36 € // ermäßigte AK 30 €

Ermäßigung gilt für: Studierende, Auszubildende, Schwerbehinderte (die eingetragene Begleitperson hat freien Eintritt), Rentner:innen, Helfer:innen des Freiwilligen Sozialen Jahres sowie Teilnehmer:innen des Freiwilligen Ökologischen Jahres

PARTY

kassettenclub

Mit einer Reise durch vier Jahrzehnte Underground Musik:
Indie – C86 – Shoegaze – Brit
Synthie – Postpunk – Cold Wave
Underground – Electronica – Obscurepop
mit DJ Marc Zimmermann (kassettenclub)
Visuals: Edooboo

Mixcloud: www.mixcloud.com/lunastrom 

Musik z.B. vonMen Without Hats | Human League | New Order | Happy Mondays | Charlatans | The Stone Roses | The Smiths | Arcade Fire | The Cure | The Field Mice | The House Of Love | The Primitives | The Clash | B-Movie | Depeche Mode | The Jam | Violent Femmes | OMD | Talking Heads | Fischer-Z | The Raveonettes | Kent | Strokes | The Notwist | Peaches | Ladytron | The Undertones | Devo | A Flock Of Seagulls | B 52’s | Garbage | The Kills | Elastica | Stranglers | Strokes | Interpol | PJ Harvey | Le Tigre | Belle & Sebastian | Echo & The Bunnymen | They Might Be Giants | The Pains Of Being Pure At Heart | Molchat Doma | David Bowie | The Jesus & Mary Chain | Adorable | Slowdive | Ride | Lush | Pulp | Blur | Verve | Wire | Pixies | Sonic Youth | Stereolab | Blondie | Ideal | Fehlfarben | Grauzone | Tocotronic | Blumfeld | Chameleons | Joy Division.

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10.06.2023 

Einlass 23:00

AK 10 €

15.06. Nachholtermin vom 29.04. – Alle bereits gekauften Tickets behalten ihre Gültigkeit!

KONZERT

Lou Asril

„Ein unverkennbarer Stil, der den Zeitgeist spiegelt und sich mit und an ihm entwickeln will – das zeichnet Lou Asril’s Musik vom ersten Moment an aus. Die Basis für seine Musikalität bilden eine klassisch Klavierausbildung und frühe Bühnenauftritte, bis hin zum Gewinn des renommierten Joe Zawinul Award mit 17 Jahren. Seine erste Single DIVINE GOLDMINE erschien 2019, katapultierte sich direkt auf Platz-1 der Charts und brachte ihm prominente Playlist-Platzierungen sowie Award-Nominierungen (Best Alternative bei den AAMA, FM4 Award). Es folgten Zusammenarbeiten mit Produzent AgaJon (BERLIN, PRETTY CITY), Ton-Künstler Zebo Adam (HEAVEN), ein viel beachteter Live-Auftritt bei den Austrian Amadeus Music Awards sowie weitere Live-Auftritte (Glatt&Verkehrt Festival, poolbar Festival, u.v.m.).

Zahlreiche Stilrichtungen fanden bisher den Weg in seine Arbeit: Neben zunächst vorrangigem Soul und RnB, sind Pop, HipHop und elektronische Musik starke Einflüsse, die ihm nach wie vor erlauben einen ganz eigenen Stil zu (er)finden und sich in verschiedenste Richtungen zu entfalten.

Im Zuge der aktuellen EP RETROMIX21 entwächst Lou Asril dem, wie er es nennt, “jüngeren, zurückhaltenderen” Image des Soul-Künstlers, gibt seinem Hang zur elektronischen Musik stärker nach und lässt Elemente aus HipHop bis hin zu Rap einfließen. Sein Ton wird dabei schärfer, die Melodien kantiger, der Sound mutiger und die behandelten Themen geprägt von einer größeren Empfindsamkeit.

Wohin die Reise von hier aus geht ist unklar. Doch in seiner Arbeit skizziert Lou Asril zunehmend das Mysterium, das ihn ausmacht und gibt uns seine Musik als möglichen Schlüssel an die Hand zu dem Rätsel, in das er selbst sich hüllt.“

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