[Johannes Enders / Nils Petter Molvaer / Uli Wangenheim / Ralf Schmidt / Saam Schlamminger / John Hollenbeck]

muzycy: Johannes Enders: tenor sax, bass clarinet, alto flute, electronics, organ
John Hollenbeck: drums, percussion
Nils Petter Molvaer: trumpet
Saam Schlamminger: dohol, tombak, electronics (only on tracks 4-6)
Ralf Schmidt: church organ
Uli Wangenheim: bass clarinet (only on tracks 1-3, 7)

Editor's info:
The antidote to constantly changing modish behavior.

On Dome Enders celebrates the physical beauty and mystical transfiguration of the pure note that stands for itself.

Projects like Enders Room and the Tied & Tickled Trio have made saxophonist Johannes Enders famous far beyond Germany's borders. If he is now marking out new musical territory on his Dome CD, there is no need for concern that he might not remain true to himself. The very title of the album refers to Enders Room. And yet here the room is polarized quite differently than what we are used to from Enders. From the first note, it becomes clear that he is looking for an entirely different resonance here than an ordinary studio can offer. In the Romanesque church of St. Michael in Altenstadt in Bavaria, Enders found a space suitable to realizing this project.

Syntheses of European sacred music and jazz or other improvised music are common. But Enders has managed to make an album that is unique in this country. Concrete and mystical spaces interpenetrate one another; mental landscapes are absorbed in the niches and vaults of these consecrated walls. Time congeals in space. Enders is not looking for a simple translation of ancient sounds into contemporary music. He is more interested in the ancient within himself than in the past of history. ""I have always been fascinated by sacred space,"" Enders admits. ""Today there are only a few places left that produce a vacuum. Independently of religion, every church develops its own sound. This old Romanesque basilica near Schonau is utterly undecorated. I always wanted to explore this space. I wrote these pieces with John Hollenbeck and a few others in mind, and we recorded them in two sessions. At some point there was an interface between the electronic space of the church and the electronics. I worked on many of the recordings afterward. These sounds from the church gave me so many ideas that I wou.......
more

Editor's info:
The antidote to constantly changing modish behavior.

On Dome Enders celebrates the physical beauty and mystical transfiguration of the pure note that stands for itself.

Projects like Enders Room and the Tied & Tickled Trio have made saxophonist Johannes Enders famous far beyond Germany's borders. If he is now marking out new musical territory on his Dome CD, there is no need for concern that he might not remain true to himself. The very title of the album refers to Enders Room. And yet here the room is polarized quite differently than what we are used to from Enders. From the first note, it becomes clear that he is looking for an entirely different resonance here than an ordinary studio can offer. In the Romanesque church of St. Michael in Altenstadt in Bavaria, Enders found a space suitable to realizing this project.

Syntheses of European sacred music and jazz or other improvised music are common. But Enders has managed to make an album that is unique in this country. Concrete and mystical spaces interpenetrate one another; mental landscapes are absorbed in the niches and vaults of these consecrated walls. Time congeals in space. Enders is not looking for a simple translation of ancient sounds into contemporary music. He is more interested in the ancient within himself than in the past of history. ""I have always been fascinated by sacred space,"" Enders admits. ""Today there are only a few places left that produce a vacuum. Independently of religion, every church develops its own sound. This old Romanesque basilica near Schonau is utterly undecorated. I always wanted to explore this space. I wrote these pieces with John Hollenbeck and a few others in mind, and we recorded them in two sessions. At some point there was an interface between the electronic space of the church and the electronics. I worked on many of the recordings afterward. These sounds from the church gave me so many ideas that I wou.......
more