After her Concert in Baku, Azerbaijan, Barbara has been interviewed by Neil Watson, Editor and Press Officer of The European Azerbaijan Society, London, UK.
He says, "Barbara Dennerlein ranks amongst the foremost contemporary jazz organists, coming in the wake of Hammond B3 exponents Jimmy Smith and Brother Jack McDuff, who brought the organ to the foreground in the late 1950s. Having begun organ studies aged 11 years, she first performed in a jazz club four years later, and during the 1980s perfected her approach, combining elements of bop, swing, Latin and funk into an intoxicating and exciting mix. Equally at home in a trio format, with a big band or - most surprisingly - on church pipe organ, Barbara’s recordings and appearances have garnered numerous awards, and she has performed across the world in such as venues as the Blue Note Club in New York and Ronnie Scott’s Club in London. In February, she travelled to Baku to perform on the pipe organ in the Church of the Saviour. TEAS caught up with Barbara at home in Germany to find out more.
What prompted your visit to Azerbaijan?
This was actually my second visit to the country, as I played there 15 years ago. I was brought to Baku by the Ministry of Culture and Tourism and Rauf Aliyev, President, A+A Group to play on a new pipe organ that has been installed in the Church of the Saviour, and this represented a very special opportunity for me. I was only the second person to perform a concert on this instrument, as it had been played the previous night by classical organist Martin Haselböck. This also gave me chance to collaborate with the great Azerbaijani saxophonist Rain Sultanov and a local drummer.
You performed in the Church of the Saviour in Baku, built by German Lutheran settlers in the 19th century. Did the organ and the ambience remind you of churches in Germany?
The new organ forms part of the church restoration project, which has taken place over the course of a decade. Now used more as a concert hall than a church, the building has a new floor and stage. I wish more churches looked liked this – it was a very interesting and beautiful place in which to play a concert. The console was situated immediately in front of the audience, which was excellent.
You performed with saxophonist Rain Sultanov, who has been a leading figure in Azerbaijani jazz for many years. Did you feel that his approach to improvisation complemented your own?
Rain is a brilliant player and a very pleasant person. It was the first time I met and played with him. I have since heard his compositions, with which I am impressed, and it is interesting to see the way in which he combines jazz with Azerbaijani traditional music.
Did you focus on compositions from the Spiritual Movement CDs, which you wrote for pipe organ?
Yes, and it was great to hear these on such a new organ.
Were you inspired by the recordings by Fats Waller on church organ?
Not really – I was already playing church organ when I discovered the recordings that Fats Waller made in the 1920s. He was certainly the first person to play jazz on the instrument, and I sometimes perform his composition Ain’t Misbehavin’ in recognition of this. As you know, I play both Hammond B3 and pipe organ, and the technique is very different. There is a delay from pressing the key and the sound being heard, whereas the Hammond immediately responds. Also, the bass pedals on the pipe organ require the use of two feet. These are the main reasons why so many jazz players do not perform on the instrument.
The Azerbaijani jazz scene has been buoyant for several decades, and the Baku Jazz Festival is held every year. Did you have opportunity to experience any Azerbaijani bands during your time in Baku?
Unfortunately not – I had limited time in which to prepare the concert, and the new organ incorporated some electronics that required programming. I arrived on the night of the concert by Martin Haselböck. I was most impressed by Baku – it has changed a great deal during the past 15 years. I found everyone to be very friendly and hospitable. I received many presents, and found the food to be very tasty!
I believe that jazz-mugham is very effective, and that Azerbaijani jazz musicians are of an international standard. Rain’s music contains many moods, including Azerbaijani harmonies and rhythms. I also appreciate the music of pianist Aziza Mustafa Zadeh.
Do you have any plans to perform on Hammond organ in Azerbaijan in the future?
I would very much like to perform at the Baku Jazz Festival. However, travelling with an immensely heavy Hammond B3 Organ is a logistical nightmare, and I could not source an instrument in Baku. My previous visit was partially sponsored by Lufthansa, which made it viable. However, computerised organs are constantly improving, so I am optimistic. All those years ago, my concert on the Hammond was a tremendous success, and I would like to play for such an audience again."
Concerts in March
Two concerts in Germany are scheduled in March. On Sunday, 19th, Barbara plays a solo church organ concert in Grünstadt which is located on the Rhineland Wine Road. Two days later she meets the blues and boogie duo Ignaz Netzer and Thomas Scheytt for a concert evening in Schwalbach/Ts. near Frankfurt.
On Friday, 25th Barbara will be in Switzerland at the "Orgelsurium" in Unterengstringen near Zurich. The location is a famous Hammond Museum where not only Barbara, accompanied by drummer Marcel Gustke, will play on the Hammond but also there is also a dinner before the concert for which reservations should be taken soon. The concert is almost sold out - so you should hurry up if you want to see Barbara in Switzerland.
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