Album Review: Tobias Hoffmann Jazz Orchestra – “Innuendo”

Saxophonist, composer, and arranger Tobias Hoffmann has consistently been building a reputation as a composer/arranger who skillfully blends the tradition with a fresh approach to Big Band music. His recent album “Innuendo,” released on the German label Mons Records, showcases his evolving talent. Following the success of his 2022 release “Conspiracy,” Hoffmann returns with an ambitious collection of eight original compositions that showcase his development as a musical architect. The album’s title track, “Innuendo,” which earned Hoffmann the “Best Composition” award in the “Original Composition – Large Ensemble” category at the 47th Downbeat Student Music Awards, sets the tone for the entire work.

Hoffmann’s dual identity as both a saxophonist and a composer/arranger is evident throughout the album. This duality allows him to craft pieces that are not only technically impressive but also deeply expressive and performer-friendly. Grammy-winning producer and arranger Michael Abene’s liner notes highlight the maturity in Hoffmann’s writing, describing it as “fresh, exciting, and requiring serious listening.”

The Tobias Hoffmann Jazz Orchestra, comprised of musicians from Vienna, Graz, and Germany, demonstrates a cohesion that belies its relatively recent formation. The ensemble’s ability to navigate Hoffmann’s complex arrangements with precision and sensitivity shows both the quality of the musicians and Hoffmann’s skill as a bandleader.

The album opens with the titular “Innuendo,” a piece that pays homage to the legendary rock band Queen. Hoffmann’s fascination with the original Queen composition’s shifting moods and emotions is evident in his own interpretation. The piece features an alto saxophone solo by Florian Trübsbach, which serves as an excellent introduction to the album’s overall aesthetic – a blend of traditional big band sound with contemporary compositional techniques.

“Summer Solstice” follows, offering a contrast to the more intricate works on the album. Rooted in traditional big band style, this piece nonetheless bears Hoffmann’s distinctive compositional voice. Simon Harrer’s trombone solo adds depth and character to the composition, demonstrating Hoffmann’s ability to write for individual voices within the ensemble.

The album takes a turn with “No Way Back,” a complex piece in mixed meters that emerged from a challenging period in Hoffmann’s life. Inspired by artists like Alex Sipiagin, Chris Potter, and Dave Holland, this composition channels newfound energy through challenging rhythms and intricate harmonic structures. Solos by trumpeter Gerhard Ornig and pianist Viola Hammer navigate the piece’s complexities with skill and musicality.

“Sanctuary” provides a moment of introspection amidst the album’s more energetic offerings. This deeply personal ballad features a poignant tenor saxophone solo by Martin Harms. Abene’s praise for this piece in the liner notes is well-deserved, as it showcases Hoffmann’s ability to craft emotionally resonant compositions within the big band format.

“Convictions” represents a turning point in Hoffmann’s compositional approach. Stemming from an exercise by Bob Brookmeyer that limits the composer to using only the white keys of the piano, this piece demonstrates how self-imposed constraints can lead to fresh creative possibilities. Patrick Dunst’s alto saxophone solo exemplifies the new avenues of expression that emerged from this compositional experiment.

“Bipolarity” finds Hoffmann exploring the intersection of classical music, minimalism, and jazz. The piece is constructed to sound like an arranged “saxophone solo,” pushing the boundaries of traditional big band writing. Robert Bachner’s valve trombone solo adds a layer of timbral interest to this already texturally rich composition.

“The Lake” stands out as one of the album’s more atmospheric offerings. Inspired by a winter morning on Lake Attersee in Austria, this piece demonstrates Hoffmann’s ability to translate visual and emotional impressions into musical form. Solos by Jakob Helling on trumpet and Vilkka Wahl on guitar contribute to the piece’s evocative nature.

The album concludes with “Perseverance,” one of Hoffmann’s most ambitious compositions to date. This through-composed work develops continuously rather than relying on repeated sections, reflecting Hoffmann’s growing interest in extended forms. Solos by Robert Unterköfler on tenor saxophone and Florian Menzel on trumpet navigate the piece’s complex structure with aplomb.

Throughout “Innuendo,” Hoffmann demonstrates a keen ear for orchestration and a deep understanding of the big band format. His writing challenges the musicians while remaining accessible to listeners, striking a delicate balance between complexity and listenability. The soloists throughout the album rise to the occasion, delivering performances that are both technically impressive and emotionally engaging.

One of the album’s strengths lies in its diversity of moods and styles. From the rock-influenced title track to the introspective “Sanctuary” to the classically-inspired “Bipolarity,” Hoffmann covers a wide range of musical territory without losing coherence. This variety keeps the listener engaged throughout the album’s duration, with each piece offering new surprises and insights.

However, this diversity also presents a challenge, while Hoffmann’s compositional and arranging skills are undoubtedly impressive, there are moments when the complexity of the writing overshadows the emotional impact of the music. Some listeners may find themselves appreciating the technical aspects of the compositions more than connecting with them on a visceral level. These minor critiques aside, “Innuendo” showcases Hoffmann’s growth as a composer and arranger, demonstrating an increased confidence in tackling complex forms and a willingness to push the boundaries of big band writing.

The production quality of the album is excellent, with a clear and balanced mix that allows the intricacies of Hoffmann’s arrangements to shine through. Each section of the band is well-represented in the mix, and the soloists are given ample space to express themselves without overshadowing the ensemble.

In the context of contemporary big band jazz, “Innuendo” stands out as a work of considerable ambition and accomplishment. Hoffmann’s willingness to incorporate influences from outside the traditional jazz sphere – including rock, classical music, and minimalism – results in a fresh and engaging listening experience. While it may not be groundbreaking in the broader context of jazz history, “Innuendo” certainly establishes Tobias Hoffmann as a composer and arranger to watch in the coming years. His ability to blend tradition with innovation, coupled with his keen ear for orchestration and his skill in writing for soloists, suggests a bright future in the world of large ensemble jazz.

For listeners interested in contemporary big band music that pushes beyond the conventional while remaining rooted in the jazz tradition, “Innuendo” offers much to explore and appreciate. It is an album that rewards repeated listens, revealing new layers of complexity and nuance with each spin.

In conclusion, “Innuendo” represents a significant achievement for Tobias Hoffmann and his Jazz Orchestra. The album showcases the work of a maturing artist who is unafraid to take risks and push boundaries. As Hoffmann continues to develop his voice as a composer and arranger, it will be interesting to see how he builds upon the foundation laid by this ambitious and successful release.

Line-Up:
Woodwinds
Florian Trübsbach – Alto Saxophone, Soprano Saxophone, Flute & Clarinet | Patrick Dunst – Alto Saxophone, Soprano Saxophone, Flute & Clarinet | Robert Unterköfler – Tenor Saxophone, Soprano Saxophone, Flute & Clarinet | Martin Harms – Tenor Saxophone, Bass Clarinet, Flute & Clarinet | Jonas Brinckmann Baritone Saxophone & Bass Clarinet

Trumpets & Flugelhorns
Maximilian Seibert | Sebastian Burneci | Florian Menzel | Gerhard Ornig | Jakob Helling

Trombones
Simon Harrer – Trombone | Robert Bachner -Trombone & Valve Trombone | Daniel Holzleitner – Trombone | Johannes Oppel – Bass Trombone & Tuba

Rhythm Section
Vilkka Wahl – Guitar | Viola Hammer – Piano & Synthesizer | Ivar Roban Krizic – Double Bass | Reinhold Schmölzer – Drums & Electronics

Conductor – Tobias Hoffmann

Release Date: 20 September 2024
Format: CD | Streaming
Label: Mons Records

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