{"id":257,"date":"2003-09-25T07:12:00","date_gmt":"2003-09-25T06:12:00","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/blog\/meissner-jazz-starships\/"},"modified":"2023-12-18T08:50:11","modified_gmt":"2023-12-18T07:50:11","slug":"meissner-jazz-starships","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/09\/meissner-jazz-starships\/","title":{"rendered":"Meissner: Jazz for Starships"},"content":{"rendered":"<div class=\"shariff shariff-align-flex-start shariff-widget-align-flex-start\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Meissner%3A%20Jazz%20for%20Starships https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F09%2Fmeissner-jazz-starships%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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background-color:#3b5998; color:#3b5998\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#3b5998\"><svg width=\"32px\" height=\"20px\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 18 32\"><path fill=\"#3b5998\" d=\"M17.1 0.2v4.7h-2.8q-1.5 0-2.1 0.6t-0.5 1.9v3.4h5.2l-0.7 5.3h-4.5v13.6h-5.5v-13.6h-4.5v-5.3h4.5v-3.9q0-3.3 1.9-5.2t5-1.8q2.6 0 4.1 0.2z\"\/><\/svg><\/span><span class=\"shariff-text\" style=\"color:#3b5998\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button info shariff-nocustomcolor\" style=\"background-color:#a8a8a8\"><a href=\"http:\/\/ct.de\/-2467514\" title=\"Weitere Informationen\" aria-label=\"Weitere Informationen\" role=\"button\" rel=\"noopener \" class=\"shariff-link\" style=\"; background-color:#999; color:#999\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#999\"><svg width=\"32px\" height=\"20px\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 11 32\"><path fill=\"#999\" d=\"M11.4 24v2.3q0 0.5-0.3 0.8t-0.8 0.4h-9.1q-0.5 0-0.8-0.4t-0.4-0.8v-2.3q0-0.5 0.4-0.8t0.8-0.4h1.1v-6.8h-1.1q-0.5 0-0.8-0.4t-0.4-0.8v-2.3q0-0.5 0.4-0.8t0.8-0.4h6.8q0.5 0 0.8 0.4t0.4 0.8v10.3h1.1q0.5 0 0.8 0.4t0.3 0.8zM9.2 3.4v3.4q0 0.5-0.4 0.8t-0.8 0.4h-4.6q-0.4 0-0.8-0.4t-0.4-0.8v-3.4q0-0.4 0.4-0.8t0.8-0.4h4.6q0.5 0 0.8 0.4t0.4 0.8z\"\/><\/svg><\/span><\/a><\/li><\/ul><\/div><div class=\"rightbox\"><%image(20030912-2003-jazz-meissner.jpg|150|135|Meissner-Starship)%><\/div>\n<p>Der Alt-Saxophonist Dirk Meissner wagt gewisserma\u00dfen k\u00fchn den Vorspruch zur CD: \u0084Maybe that\u0091s the future of jazzmusic: the music you\u0091ll hear, when you drive slowly in your starship, cheerfull looking out of the window.\u0093 Da kann sich der Rezensent nicht ganz verkneifen, dass er beim H\u00f6ren gelegentlich den Eindruck gewann, es w\u00e4re eher eine Reise im Miniatur-U-Boot durch ein Goldfischkugelglas, das neben einem Laptop sein Dasein fristet.<br \/>\n<!--break--><br \/>\nKonkret: Dirk Meissner spielt seine Soli \u00fcber einem Meer aus Rhythm&#038;Sound-Programming, welches in der Tat superb groovy ist. \u00dcber diesen fein-frickeligen Teppich aus Sounds und Beats gibt er seine Saxophonlinien, die eben manchmal zu gut, manchmal zu leicht ihre Tonkreise ziehen. So mag es scheinen, dass der bunten Soundvielfalt der Saxophonklang entweder zu wenig perspektivisch oder geistig zu analog wirkt. Die CD hat zweifellos viele sch\u00f6ne Stellen und ihre Meriten. Sicher muss man auch nicht immer und \u00fcberall alles brechen. Dem Rezensenten erscheint der Bruch musikalisch immanent und f\u00fchrt zur \u00e4sthetischen Schieflage. Das mag aber der geneigte H\u00f6rer f\u00fcr sich selbst bewerten, wenn er mit Meissner auf die ausgiebige Starship-Reise geht \u0096 g\u00fcnstiger geht es sowieso nicht, Augen zu und durch. <\/p>\n<p><i>Dirk Meissner: Jazz for starships<\/p>\n<p>schoenerh\u00f6ren music \u0096 NRW 4017<\/i><br \/>\n<!--more--><\/p>\n<div class=\"rightbox\"><%image(20030912-2003-jazz-meissner.jpg|150|135|Meissner-Starship)%><\/div>\n<p>Der Alt-Saxophonist Dirk Meissner wagt gewisserma\u00dfen k\u00fchn den Vorspruch zur CD: \u0084Maybe that\u0091s the future of jazzmusic: the music you\u0091ll hear, when you drive slowly in your starship, cheerfull looking out of the window.\u0093 Da kann sich der Rezensent nicht ganz verkneifen, dass er beim H\u00f6ren gelegentlich den Eindruck gewann, es w\u00e4re eher eine Reise im Miniatur-U-Boot durch ein Goldfischkugelglas, das neben einem Laptop sein Dasein fristet.<br \/>\n<!--break--><br \/>\nKonkret: Dirk Meissner spielt seine Soli \u00fcber einem Meer aus Rhythm&#038;Sound-Programming, welches in der Tat superb groovy ist. \u00dcber diesen fein-frickeligen Teppich aus Sounds und Beats gibt er seine Saxophonlinien, die eben manchmal zu gut, manchmal zu leicht ihre Tonkreise ziehen. So mag es scheinen, dass der bunten Soundvielfalt der Saxophonklang entweder zu wenig perspektivisch oder geistig zu analog wirkt. Die CD hat zweifellos viele sch\u00f6ne Stellen und ihre Meriten. Sicher muss man auch nicht immer und \u00fcberall alles brechen. Dem Rezensenten erscheint der Bruch musikalisch immanent und f\u00fchrt zur \u00e4sthetischen Schieflage. Das mag aber der geneigte H\u00f6rer f\u00fcr sich selbst bewerten, wenn er mit Meissner auf die ausgiebige Starship-Reise geht \u0096 g\u00fcnstiger geht es sowieso nicht, Augen zu und durch. <\/p>\n<p><i>Dirk Meissner: Jazz for starships<\/p>\n<p>schoenerh\u00f6ren music \u0096 NRW 4017<\/i><\/p>\n<div class=\"shariff shariff-align-flex-start shariff-widget-align-flex-start\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Meissner%3A%20Jazz%20for%20Starships https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F09%2Fmeissner-jazz-starships%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" 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Dann geht man ein St\u00fcck zur\u00fcck\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":550,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/07\/nikola-kodjabashia-reveries-of-the-solitary-walker\/","url_meta":{"origin":257,"position":3},"title":"Nikola Kodjabashia: Reveries Of The Solitary Walker","author":"huflaikhan","date":"15. Juli 2004","format":false,"excerpt":"Pers\u00f6nliche Notiz: Zum ersten Mal h\u00f6rte ich diese CD nach einer gelage\u00e4hnlichen Besprechung mit Freunden. Sp\u00e4t abends dann zuhause legte ich mich ins G\u00e4stebett, weil mein Bett dem Gast \u00fcberlassen wurde. Das Zimmer ziemlich dunkel, ziemlich stille und dann spielte die CD. Vom ersten Ton an war ich irritiert und\u2026","rel":"","context":"In &quot;Tontr\u00e4ger&quot;","block_context":{"text":"Tontr\u00e4ger","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/texte\/rezension\/tontrger\/"},"img":{"alt_text":"Nikola Kodjabashia - Reveries","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2004\/07\/20040715-cd-kodjabashia.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":665,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/08\/albert-ayler-die-einseitige-platte-von-1965\/","url_meta":{"origin":257,"position":4},"title":"Albert Ayler: die einseitige Platte von 1965","author":"huflaikhan","date":"8. August 2004","format":false,"excerpt":"1. Mai 1965, New York - Town Hall, Albert Ayler und ein paar Freunde machen eine Platte, etwas weniger als 21 Minuten lang: Bells. Mit von der Partie sein Bruder Don (tp), Charles Taylor (sax), Lewis Worrell (b) und Sonny Murray (dm). Eine teilweise chaotische Musik, die sich gelegentlich militaristisch-hymnisch\u2026","rel":"","context":"In &quot;Programmhefte&quot;","block_context":{"text":"Programmhefte","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/texte\/programmhefte\/"},"img":{"alt_text":"Bells - Aufkleber","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2004\/08\/20040808-bells-a-detail.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":2251,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2007\/07\/rez-sonore-only-the-devil-has-no-dreams\/","url_meta":{"origin":257,"position":5},"title":"[Rez] Sonore, Only The Devil Has No Dreams","author":"hufi","date":"27. Juli 2007","format":false,"excerpt":"Das sind Energiest\u00f6\u00dfe, wie man sie lange nicht mehr geh\u00f6rt hat. Drei Klangmeister an den Saxophonen und Klarinetten. Energiest\u00f6\u00dfe, reine Tonaktivit\u00e4t, kaum geb\u00e4ndigt durch Organisationsstr\u00f6me. Peter Br\u00f6tzmann, Mats Gustafsson und Ken Vandermark veranstalten hier ein Klang-, Ton-, Ger\u00e4uschgewitter, das donnert, knistert, sch\u00e4umt, str\u00f6mt, dunkelt, erhellt. Immer wieder ist es von\u2026","rel":"","context":"In &quot;jazzzeitung&quot;","block_context":{"text":"jazzzeitung","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/texte\/jazzzeitung\/"},"img":{"alt_text":"Only The Devil Has No Dreams","src":"https:\/\/i0.wp.com\/www.urteilskraft.de\/kritik\/wp-content\/uploads\/2007\/07\/broetzmann.png?resize=350%2C200","width":350,"height":200},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/257","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=257"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/257\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=257"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=257"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=257"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}