Barbara Dennerlein

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Barbara Dennerlein
Electronic organ, synthesizer, organ
Years active1980s–present
Websitebarbaradennerlein.com

Barbara Dennerlein (born 25 September 1964 in Munich)

bass pedalboard on a Hammond organ and for integrating synthesizer sounds onto the instrument, and was described by critic Ron Wynn as "the most interesting jazz organist to emerge during the 1980s".[2]

Career

Barbara Dennerlein in Vienna, November 2005

Early years

Dennerlein was born and grew up in

Hammond B-3. She immediately became interested in the instrument and that it contained a bass pedalboard, unlike her Hohner. After some searching, since the instrument was then out of production, she acquired her own Hammond aged 13 from her parents.[3] She began to play concerts aged 14,[4] and the following year, she played in a jazz club for the first time.[2] When leading her own bands, Dennerlein was often the youngest musician in the group, and she learned to co-operate with more experienced musicians. Her local reputation as the "Organ Tornado from Munich" spread after her first TV appearances in 1982.[5]

Recordings

When her third

LP Bebab was issued, Dennerlein established her own record label in 1985[2] and assumed her own management duties, because she felt not enough support from either her existing label or from Hammond, who wanted to promote later digital models rather than the B-3 she used.[6] She received two German Record Critics' awards for self-produced albums.[2] Later, she made three recordings for Enja Records[1] and three for Verve Records. On these recordings she worked with Ray Anderson, Randy Brecker, Dennis Chambers, Roy Hargrove, Mitch Watkins, and Jeff "Tain" Watts.[2]

Instruments

Dennerlein modified a Hammond's pedalboard to trigger

synthesizers and samples to her sound.[7]

After a variety of projects and after playing with unconventional musicians, such as

Berlin Philharmonic Orchestra on the Karl Schuke organ.[8]

Compositions

Dennerlein claims to have been primarily influenced by jazz and was not initially interested in classical or church music, although it was and is popular in Germany.[4] She has never been enthusiastic about formal music theory, preferring to learn things through improvisation.[9] However, she has further said that her main influence from jazz is the ability to mix other musical styles as desired, saying "To me, jazz is a synonym for freedom. Freedom from prejudice and discrimination".[8]

Dennerlein's first album included four of her own pieces. Her

slap bass, which cannot be played on pedals.[11] Dennerlein often uses changing meter (e.g., 3/4 to 4/4), as well as unconventional harmonic changes to add expression to her compositions.[10]

Awards

  • 1995: "German Record Critics Award" ("Preis der deutschen Schallplattenkritik") for "Take Off"
  • 1995: "Jazz Award" for "Take Off" for holding the number one position in the German Jazz Charts for several months and for being best selling Jazz Album of the year in Germany
  • 1987: "German Record Critics Award" ("Preis der deutschen Schallplattenkritik") for "Tribute to Charlie".

Discography

References

  1. ^ a b c d e Yanow, Scott. "Barbara Dennerlein". allmusic. Retrieved 20 December 2009.
  2. ^
    ISBN 0-87930-308-5
    .
  3. ^ a b Enstice & Stockhouse 2004, p. 98.
  4. ^ a b Enstice & Stockhouse 2004, p. 100.
  5. ^ a b "Barbara Dennerlein". All About Jazz. Archived from the original on 18 January 2009. Retrieved 20 December 2009.
  6. ^ Enstice & Stockhouse 2004, p. 108.
  7. ^ a b Enstice & Stockhouse 2004, p. 97.
  8. ^ a b "Barbara Dennerlein (organ) – Jazz Meets Pipe Organ – Spiritual Movements". Berliner Philharmoniker. 4 November 2012. Archived from the original on 15 October 2012.
  9. ^ Enstice & Stockhouse 2004, p. 101.
  10. ^ a b Doerschuk, Robert L. (May 1991). "Jazz organ like you've never heard it". Keyboard. 17 (#181): 28–38.
  11. ^ Enstice & Stockhouse 2004, pp. 104–105.

Cited sources

External links

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