press reviews



"In Lüdemanns music one can find current trends of electrification and globalisation as well as diverse lines of tradtion that could be indicated by such names as Bach, Cage, Coltrane or Makeba. That the simultaneous availability of all information does not lead to an unintelligible gibberish, but into a recognizable language of his own is one of the strengths of Lüdemanns music. That joy of physical motion has its place as well as intellectual puzzles, spontaneous improvisation as well as reflected composition, is another one. If the future of Jazz sounds like Lüdemanns Futurisms, we can look forward to it happily and hopefully."
(FAZ - Frankfurter Allgemeine Zeitung)

"Lüdemann and his septett put an end to the postmodern period of improvised music with a maximum of intensity and care. In his septett with a sensational lineup at least seven different musical backgrounds come together. ... Through Lüdemanns enormously wide sense of musical form they all cooperate in a very organic way. In his music, even the most intricate polyrythms do not sound like an effort, but like a lot of fun. And the range of musical colors he has put together has simply been unheard of."
Frankfurter Rundschau

"Real originality in art is not often to be found. And if someone shows it, it is not necessarily acknowledged. Such is the case with Jazz pianist Hans Lüdemann. As unlimited, as his technical abilities obviously are, such is the sovereignty of merging musical ideas that seem incompatible."
(Philharmonische Blätter)

"The music of the trio "Rism" has a playful character, full of references to diverse musical traditions. These are not used as vehicles, though, but only serve as impulses for an original concept in the context of a classical Jazz cast."
(Ulrich Kurth, WDR)

"Hans Lüdemann Rism sheds a new light on the standard piano trio. Especially his "Ruck än Ruul" shows that even today, sophisticated music can be fun!"
("day in-day out" music magazine)

"Surprising Köln pianist Hans Lüdemann who, with the standard setting of piano/bass/drums enters a field that seems completely harvested. 'Rism' instead of 'rhythm' is the name of Lüdemanns band, who's tunes are mostly titled in 'Starckdeutsch' (= 'Strong German') by poet Matthias Köppel. And in the same way Köppel linguistically transforms everything into something grotesque, Lüdemann achieves something similar: Rock'n' Roll, for example, becomes "Ruck än Ruul" - a steeplechase - no, not over obvious patterns, but on a hidden Soul rhythm."
(Michael Rüsenberg - Süddeutsche Zeitung)

"But the surprise of this third Mostra de Jazz-Festival Barcelona came from the united Germany with the trio Hans Lüdemann. An expressive Jazz formation without stilistic boundaries. The rhythmic attack of Hans Lüdemann took away the supposed European coldness, that melted in a theme adapted by Salif Keita. Hans Lüdemann is a pianist of great quality and technique, a composer of great imagination. The German trio left a good impression on the audience, that did not expect such an impressive performance."
(Diari de Barcelona)

"The German pianist has much experience experimenting with physical and philosophical concepts such as the essential aphorisms. He is constantly searcing for the causal roots that are hidden deeply within the entity of a melody. His secret is catching the spirit of the melody by the atmosphere it creates. In all his works you notice his preference for the formal aspect. Even his most extravagand improvisations reveal an externally perfectly defined harmony. You cannot ask for more, neither creatively nor technically."
(La Vanguardia, Barcelona)

"Tata Dindin is another Diabaté, son of Malamini Diabaté from Brikama in the Gambia. His CD with German pianist Hans Lüdemann is, apart from the closing track, a live concert recording and the pairing works extremely well, the piano often managing the flourishes that you'd expect from a second kora on the Tata-originated tracks, whilst the Kora sometimes taking on a role something akin to a harpsichord or classical harp on Lüdemann's own more floral compositions (...). It's an interesting and fulfilling project that pushes the boundaries a bit."
(Folk-Roots Magazine)

"Pianists Hans Lüdemann and Paul Bley here rise to the piano duo challenge and seem to solve all the harmonic problems that come with it. The results are superb."
(The Wire/England)