Barbara Dennerlein | Spiritual Movement No.2

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Jazz: Contemporary Jazz Classical: Organ Moods: Spiritual
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Spiritual Movement No.2

by Barbara Dennerlein

Dennerlein's second CD with jazz on the church organ. It is her indisputably unique artistry to make the powerful pipes, voluminous manuals, and weighty pedals more tractable for the turbulent syncopations of jazz. Check out Rolling Stones' "Satisfaction"
Genre: Jazz: Contemporary Jazz
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1. The Unforgettable
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6:17 $1.79
2. Always Remember
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9:02 $1.79
3. I-797
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7:31 $1.79
4. Funkish
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5:03 $1.79
5. New York Impressions
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15:26 $1.79
6. Farewell to Old Friends
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10:15 $1.79
7. Satisfaction
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8:31 $1.79
8. Home Is Where My Heart Is
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8:02 $1.79
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ABOUT THIS ALBUM


Album Notes
From the “Queen of the Instruments” to the Queen of the Pipe Organ

\"With \"Spiritual Movement No. 2\" Barbara Dennerlein honours one of the most historically significant places in Germany: the Emperor William Memorial Church in Berlin. Built around 1900, it was largely destroyed by a hail of bombs in 1943 and 1944. Restored and expanded it has become a global icon of architectural history and a dramatic symbol of Germany’s reconstruction. Its Schuke-Organ, built in 1962/63 and most recently modified in 2005, has four manuals, 63 stops, and 5000 pipes, and during a concert on November 16th, 2007 it had Barbara Dennerlein at the console.

It is Barbara Dennerlein’s indisputably unique artistry to make the powerful pipes, voluminous manuals, and weighty pedals more tractable for the turbulent syncopations of jazz. Even prior to the new millennium she began her ambitious project to create a musical cosmos for jazz on the pipe organs of this world. Her journey has always been characterized by a respect for the challenge, an immersion into the myriad worlds of these instruments, and an ability to surmount all the pitfalls associated with their registrations and mechanics. Nevertheless, \"Spiritual Movement No. 2\" reveals: no longer is she an artist seeking to conquer the \"Queen of all Instruments.\" Rather, she is now the \"Queen of the Pipe Organ\" who deftly reigns over her instrument as a vital means for expressing her musical intentions.

Barbara Dennerlein enters the exalted choir loft and lays down some furious and \"Funkish\" music – so energetically, that out of habit one might think of a Hammond B3 in a jazz club. Of course the reality is that only a magnificent instrument such as the pipe organ can do justice to such a grandiose pedal bass solo. Through such artistry and technique Barbara Dennerlein has created an unrivaled and unique selling point within the entire world of jazz.

Barbara\'s music effects the complete transformation of 5000 organ pipes to a jazz instrument with no \"ifs\" \"ands\" or \"buts.\" The result is a phenomenal groove. Barbara Dennerlein’s uncompromising pursuit of intensity, drive, and the intoxication of timbre are on display in her blues compositions takes things yet again to the next level like an improvised thunderstorm of uncommon originality and gradually speed. It’s a spectacular piece performed by an absolutely extraordinary talent. This CD comes with a promise, each time one listens to it he is apt to discover a new aspect of his own musical world.\"


Reviews


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Bluezz

BeBach
Since her first pipe organ CD Spiritual Movement No. 1, Barbara Dennerlein has garnered quite a reputation in pipe organ circles as a jazz artist with extraordinary technique. She has managed to take advantage of the power and lush sound of pipe organs and master their notoriously complex registers, sustain properties, individualized set ups, while simultaneously incorporating jazz, blues, classic and ambient sounds into a stunning soundscape. Her prodigious technical skills and compositional prowess are on full display here.

Like Captain Kirk of Star Trek, on this CD she has boldly gone where no man has gone before – this is a worthy addition to any music collection.

James Lampert

If you think Dennerlein's jazz sounds good on a Hammond, try it on real pipes!
I had known of Barbara Dennerlein for many years, and had read about her, and seen her picture, thumbing through a book on jazz artists, but given that I find the instrument Laurens Hammond invented to be a poor and unmusical substitute for an organ, I hadn't expected to hear her. Until 1999, when I stumbled, in an idle web search, upon a picture that showed a very recognizable Barbara Dennerlein playing something that had drawSTOPS instead of drawBARS. On exchanging email with her, I learned that she had indeed branched out from tonewheels to real pipes. It was not until 2002 that she actually released her "real pipes debut" album, Spiritual Movement No. 1. Her U.S. distributor ignored it (evidently seeing it as some sort of sell-out), and so I ended up buying it from a gray-marketer. It was so good that I was one of several who lobbied the organ-specialty distributors to stock it. Then, in 2007, when she performed on the Mighty Austin at the Spreckels Organ Pavilion in San Diego (a recital that included pieces on the present CD), I drove 180 miles to hear her live, and finally meet her, and I was not disappointed.

Which brings us to the present CD. As good as Spiritual Movement No. 1 was, this is better. Where the former still had the "stick-to-the-score, stick-to-the-rehearsed-registrations" formality of a musician still learning what can be done with real pipes, the present recording shows the spontaneity, spark, and playfulness of one who has become every bit as comfortable with pipes as with tonewheels.

Rarely does Ms. Dennerlein stoop to simply attempting to make real pipes sound like a Hammond; instead, her playing is totally idiomatic to real pipes, and (in a sure sign that she knows the rules well enough to get away with breaking them) uses the time it takes pipes to settle into clear speech to create an effect I've never heard anywhere else.

Once again, the incredible breadth of Dennerlein's technique is on parade: in Spiritual Movement No. 1, she managed to suggest the Preservation Hall Jazz Band, Fats Waller, and Ray Charles, along with everything in between; in Spiritual Movement No. 2, she gives us "The Unforgettable," a swinging tribute to Jimmy Smith, and "Funkish," in which I can hear more than a little boogie-woogie, and "New York Impressions," a tone poem whose title says it all, and even an arrangement of Mick Jagger's "Satisfaction."

If you're convinced that jazz could never sound good on real pipes, this is perhaps the album that will change your mind.