Tobias Meinhart Berlin People - Dark Horse

April 24, 2023

Label: Sunnyside Records, 2023

Personnel - Tobias Meinhart: tenor and soprano saxophone; Kurt Rosenwinkel: electric guitar; Ludwig Hornung: piano; Tom Berkmann: bass; Mathias Ruppnig: drums.

The second installment of German saxophonist Tobias Meinhart’s Berlin People is titled Dark Horse and was recorded live at A-Trane jazz club, located in Germany’s trendy capital. The quintet bolstered its sound, tightening musical and friendship ties during the time spent on the road (they toured Europe and South America after the release of their first album). The group remains intact in its pieces, featuring the acclaimed guitarist Kurt Rosenwinkel, who establishes a strong connection with the saxophonist in most of the melodic themes. The group is rounded out by Ludwig Hornung on piano, Tom Berkmann on bass, and Mathias Ruppnig on drums. The latter two contribute one composition each to the tracklist.

Meinhart’s “Luna Park” opens empathically through a joyful thematic development that is a tribute to New York’s Coney Island. The unmistakable contemporary sound gains even more emphasis when Meinhart permeates the harmonic tapestry with a gripping tenor improvisation. Rosenwinkel follows him, projecting his blustering synth guitar with ruddy tones and inviting ideas. In turn, Hornung opts for a more thoughtful approach with plenty of rhythmic figures and chromatic slides.

The uptempo “Dark Horse” runs under a sextuple meter with punk rock-ish attitude and jazzistic expression around the edges. Its breathless galloping takes a rest before the closing statement. “Dreamers” is an older piece - a contrafact of the standard “You Stepped Out of a Dream” - that feels a bit extended here. In spite of that, we can indulge in Meinhart’s soprano sprints over the harmonic riches. There are swinging segments in its 4/4 motion that one can identify with “Berlin People”, which seems immersed in an authentic urban bustle. This fitting 15-minute closer was retrieved from the band’s debut album and extended from six to 15 minutes.

Contrasting with these swirling streams, we have Ruppnig’s tenderly outlined “Gift of Time”, and Meinhart’s “Sonic River”, a lyrically involving 7/4 cut introduced with grace and perspicuity by Rosenwinkel and brushed with balmy effulgence by the drummer.

Although not making the same great impression as The Painter (recorded with a completely different quintet), Dark Horse is nevertheless an agreeable album where the bandleader’s compositions stand out.

Favorite Tracks:
01 - Luna Park ► 08 - Sonic River ► 09 - Berlin People

Tobias Meinhart - The Painter

April 26, 2021

Label: Sunnyside Records, 2021

Personnel - Tobias Meinhart: tenor and soprano saxophone, alto flute, voice; Eden Laden: piano, Rhodes, synth; Matt Penman: bass; Obed Calvaire: drums; Ingrid Jensen: trumpet (#2,6); Charles Altura: guitar (#1,10)

German-born saxophonist/composer Tobias Meinhart has a new album inspired by varied sources, a remarkable distillation of engaging musical ideas woven together to make a more than satisfactory whole. Here, he spearheads a core quartet featuring the pianist Eden Laden, the bassist Matt Penman and the drummer Obed Calvaire, but the participation of trumpeter Ingrid Jensen and guitarist Charles Altura on two tracks each, revealed to be monster add-ons toward excellent sonic outcomes.

“White Bear” makes an impressive opener, advancing with a throttling ferocity at a 9/8 tempo and featuring a bass solo upfront. A nice unison melody glides over the rich harmonic itinerary and jagged rhythm, and then it's the liquidity of Altura’s guitar phrasing and the melodic qualities of Meinhart that stand out before a polyrhythmic feel emerges from a vamp.

Just like the first track, “The Painter” and “Bird Song” are highlights for different reasons. The former denotes a delicate fragility as it is introduced by beautiful, crystalline bass resonances, having Meinhart soaking the canvas with a dripping multiphonic melody and delivering his tenor solo with range, pure timbre and expert note choices. The latter tune places an ostinato of flute and trumpet at the base, shifts metrics along the way (5/4 to 4/4), and thrives not only with an alluring piano solo complemented with ARP String synth colorings but also with the luminous empowerment that comes from Meinhart and Jensen’s interlaced horns. The bandleader wrote this one for the Canadian trumpeter.

Calvaire brushes with flavor against the soft texture of “Oak Tree”, where Penman’s relaxation transpires through a sensitive bass statement. Also evincing affectionate demeanors and soothing tones, we have Bruno Martino’s ballad standard “Estate”, the sole non-original on the album, and “Last Dance”, a flute-driven piece propelled by a firm groove in five, which serves as a springboard for balmy modal ideas.

Inspired by the Black Lives Matter protests, “Movement” steps into more familiar post-bop territory with a swinging disposition, and another message of hope is brought by “Dreamers”, the closing tune in which Meinhart sings and plays the soprano saxophone.

The Painter is an outstanding record, finding Meinhart at the summit of his compositional prowess and underscoring the strengths of the players in it.

Favorite Tracks:
01 - White Bear ► 05 - The Painter ► 06 - Bird Song

Tobias Meinhart - Berlin People

March 19, 2019

Label: Sunnyside Records, 2019

Personnel - Tobias Meinhart: saxophone; Kurt Rosenwinkel: guitar; Ludwig Hornung: piano; Tom Berkmann: bass; Mathias Ruppnig: drums.

On his new outing, New York-based saxophonist Tobias Meinhart pays tribute to his German roots at the same time that shows an ardent passion for New York. In order to do that, he put together a group based in Berlin, whose lineup includes the illustrious American guitarist Kurt Rosenwinkel, now a mainstay of that European city’s music scene. With the guitarist functioning more like a featured soloist, the quintet presents a rhythm section composed of pianist Ludwig Hornung, bassist Tom Berkmann, and drummer Mathias Ruppnig.

The opener, “Mount Meru”, is highly expressive, promoting relaxation while progressing at a confident 6/8 tempo. Contributing an exciting solo, Rosenwinkel has a magnificent first intervention, showing full command of the guitar. His phrasing is bright and his sound dazzling. Meinhart succeeds him, drawing melodic paths that involve emotions, and a transitory chorus serves as a vehicle for percussive dilatations, anticipating the repositioning of the main theme.

The bandleader’s deep fondness of swing is shared on tunes like “It’s Not So Easy”, a current layout projected with the force of bop; “Berlin People”, a showcase for a hard-hitting saxophone; “Alfred”, which features a well-articulate piano solo and is dedicated to Meinhart’s late grandfather, a classically trained bassist; and “Serenity”, a Joe Henderson original, here suffused with blistering intensity and typically structured with theme / solos (sax, guitar, piano, bass) / four-bar trades with drummer / theme.

Hornung contributes “Fruher War Alles Besser”, a suave ballad where he echoes some of the melodies brought upfront by the bassist. However, it was another balladic effort that captivated me the most: Meinhart’s “Childhood”. Assembled with major triads and displaying a special affection for melody, the piece has Rosenwinkel finishing alone and in great style.

If “Malala” is an unhurried post-bop ride inspired by the Pakistani activist and Nobel Prize winner Malala Yousafzai, “Be Free” is nothing more than a short improvisation whose undercurrents I wished were further explored.

The tracks on Berlin People, despite compositionally strong, don’t reveal many shifts internally, living mostly from the power of the improvisations. However, the album marks a solid step in Meinhart’s evolution as a recording artist.

Favorite Tracks:
01 - Mount Meru ► 07 - Childhood ► 08 - Berlin People