Florian Hoefner Group
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Florian Hoefner Group

New York City, New York, United States | Established. Jan 01, 2010 | INDIE

New York City, New York, United States | INDIE
Established on Jan, 2010
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"Konzertkritik, Schwäbische Zeitung"

Konzert zeichnet sich durch zarte Melodien und kraftvolle Läufe aus
Florian Hoefner Group gibt Jazztime-Konzert in der Zehntscheuer Ravensburg

„Songs without words“ präsentierte die Florian Hoefner Group am Samstagabend beim Jazztime-Konzert in der Ravensburger Zehntscheuer. Das Publikum war begeistert vom großartigen Zusammenspiel des internationalen Quartetts und den zauberhaften Kompositionen.
Die Band um den in New York City lebenden Pianisten Florian Hoefner stellt derzeit auf ihrer Herbsttournee ihr erstes gemeinsames Album vor – an Spielorten in den Metropolen in den USA, Kanada, Deutschland, der Schweiz, Österreich und Polen. Gespielt werden ausschließlich Eigenkompositionen des mit dem “ASCAP Young Jazz Composer Award” ausgezeichneten Bandleaders. Mit dabei sind der Kanadier Mike Ruby am Tenorsaxophon, der Australier Sam Anning am Bass und Peter Kronreif aus Österreich am Schlagzeug. Alle vier haben sich in New York an der Manhattan School of Music kennengelernt.
Ein ideales Quartett für Florian Hoefners beeindruckende Kompositionen, wie sich im Laufe des Abends herausstellt. Es ist faszinierend zu hören und zu sehen, wie die Musiker mit ihren Instrumenten und ihrer Körpersprache miteinander kommunizieren, Melodien aufgreifen und variieren, sich die Bälle zuspielen, den Stücken eine große Dynamik geben, gemeinsam aufbrausen um sich dann wieder zurückzunehmen. Besonders eindrucksvoll ist dies beim genialen Schlagzeuger Peter Kronreif und dem Kontrabassisten Sam Anning zu beobachten – als ob beide schon ein Leben lang zusammen Musik machen und dabei größten Spaß haben. Irgendwo zwischen Pop, Folk, Klassik und Jazz ist die Musik des Quartetts einzuordnen - große Ruhe, Schönheit, melodische Kraft und spannende Improvisationen zeichnen die neuen Songs aus. Die vier Wahl-New Yorker haben ihre eigene Variante des modernen Jazz gefunden.
Florian Hoefner glänzt nicht nur durch seine Songs sondern er ist auch ein hervorragender Pianist mit vielen Ideen. Virtuose, kraftvolle Läufe, dichte Akkorde, zarte Melodien – sein Spiel ist brillant und sehr abwechslungsreich. Mit Saxofonist Mike Ruba hat er einen genialen Partner an seiner Seite, der seine Melodien aufgreift und variiert, mit einer im wahrsten Sinne des Wortes atemberaubenden Technik und einer tollen Bühnenpräsenz.
Hörgenuss pur – zu dem auch der Mann am Mischpult der Zehntscheuer seinen Anteil besteuerte, da er für einen hervorragenden und transparenten Sound sorgte.
- Schwäbische Zeitung


"emusic Review by Dave Sumner"

Florian Hoefner Group, Falling Up: New release from pianist Hoefner, who put out an under-the-radar gem in 2012 with Songs Without Words. Hoefner’s music isn’t complicated or fussy… he crafts strong melodies and develops them with an enviable focus that makes his songs memorable and so damn enjoyable to hear. On his previous album, he kept a casual pace, letting the melodies breathe, and so even when the tempo speeded up, songs still had a light and slow pace. On his newest, he let’s the melodies surf the back of brisk rhythms… acting as an alternate view of Songs Without Words, while complementing it as a solid follow-up. - emusic.com


"Midwest Record Review by Chris Spector"

FLORIAN HOEFNER GROUP/Songs Without Words: New York based German piano man loves to improvise and he knows how to pick a crew that knows how to follow. He never takes off into the cosmos and has a solid feel for what he does that has been building him a well deserved international reputation making him a real go to guy for insiders. With this being a friendly, accessible work, the word is likely to spread to the street now as well. Well conceived modern stuff that sets a high water mark for sitting down jazz that can be enjoyed by all. - Midwest Record


"Cultuur Podium (Netherlands) Review by Serge Julien"

Falling Up has a refined, modern sound. That makes this album appealing to a wider group than just traditional jazz music fanatics. A fascinating release that appears on September 17.

Translated from Dutch. - Cultuur Podium


"Jazz Society of Oregon Review"

German pianist Hoefner offers up an interesting set of originals on this excellent quartet outing. From the first flurry of notes over the rubato intro to “Cross Hill,” you get the feeling that this isn’t going to be a typical straight ahead affair. The album is full of beautiful compositions like this.

“Uncertain Times” is an arresting, note-filled Kurt Rosenwinkle- esque jaunt in 5/4, and while there’s a whole lot going on during the melody, the listener doesn’t feel stifled. Both Hoefner and saxophonist Mike Ruby craft understated solos, a trait amongst the musicians through most of the album. Ruby has obviously checked out [saxophonist] Mark Turner. He is strong and consistent throughout, although perhaps he has yet to find his own voice on the instrument, since, at times, his sound and approach are a little too close to Turner’s. At other times, bits and pieces of [saxophonists] Joshua Redman and Seamus Blake also poke through. At any rate, he is a young and gifted saxophonist who I wouldn’t mind hearing again.

“Somtimes” is a solemn ballad with a slow, straight 8th’s feel. Both Hoefener and Ruby play nicely-crafted, if somewhat introverted solos. On “Song of The Past,” a pleasant, minor-key, Latin-tinged number in 6/4 time, Hoefner breaks the mold a bit, playing some interesting contrapuntal lines during an energetic solo reminiscent of Brad Mehldau. “Distraction” is also in 6/4: Ruby takes an energetic solo on soprano; Hoefner cranks things up another notch, revealing some vocabulary in the style of Chick and Herbie that we haven’t yet heard; and finally we hear a little from drummer Peter Kronreif, as he plays an inventive solo over the ending vamp.

The next tune, “Ivory,” is a pretty, seemingly straight-ahead waltz. The melody is often phrased in non-four bar phrases, a nice departure from a typical jazz waltz. There’s also a nice ostinato bass-line that happens near the end of the melody that gives the tune an unexpected flavor. Hoefner takes an inventive solo, playing lines simultaneously with both hands. Ruby follows with a freewheeling solo, perhaps his best of the set, short and sweet with a nice peak near the end. Once again, particularly in the upper register of the saxophone, we hear the Turner influence. The tune finishes with an ostinato vamp, and Ruby blows some nice lines over the top.

“Ankuft” is perhaps the most abstract of the tunes, and starts by featuring bassist Sam Anning for a while before piano and bass play a unison melody. Ruby enters and the tune takes on a more refined sound, while still maintaining an air of mystery with some wide leaps in the melody, which create some nice dissonance.

Anning and Kronreif, while probably the least “featured” musicians on this recording, are the most responsible for keeping the music moving forward. I enjoyed listening to the way they interacted with one another underneath the piano and saxophone solos more than any other aspect of this album. Both are quite obviously virtuoso players who have the discipline and maturity to not overplay. Both know when to take some chances, but mostly spend their time being supportive of the other players.

The last tune, “Behind The Sun,” is a nice Neil Young- Tom Petty-ish rock number, with a nod towards some of Brad Mehldau’s recordings, most notably the album “Largo.” Both Hoefner and Ruby play some nice blues-inflected solos, with Hoefner really reaching into his Mehldau bag at times. Overall, “Songs Without Words” provides a pleasant listening experience, full of nicely crafted songs and restrained, refined improvisations.
- Jazz Society of Oregon


"Bird is the Worm Review by Dave Sumner"

Of the hundreds of albums I’ve listened to in 2012, Florian Hoefner‘s Songs Without Words possibly excels best at offering lovely melodies made memorable. These are not simple tunes, but they are simply presented.

There is a congeniality to this album akin to pop music, and the melodies are infectious as hell, but they are anything but sweetness and light. In fact, in the middle of all this pop music buoyancy, the melodies have a note of sadness, a suggestion of an emotional complexity that diffuses any potential to drift into pop music superficiality.

And this is still just the melodies I’m talking about. Falling in between is some wonderfully understated interplay. It’s one of my favorite albums of 2012.

Your album personnel: Florian Hoefner (piano), Mike Ruby (tenor & soprano sax), Sam Anning (bass), and Peter Kronreif (drums).



I find it interesting that Hoefner opens this tuneful album with a free form section, perhaps something once recognizable but now deconstructed into the unfamiliar. Because this is an album that consists of songs… tunes with clear markers to light the path from first note to last, and rarely a tricky step along the way. And even this opening is just momentary, as the excited banter between piano and bass and drums of “Cross Hill” quickly shifts into a clearer conversation. And when Ruby steps in with a few sighing notes on sax, the album settles into the pace that will carry it through to the end.

It gets to where an ensemble earns the trust of the listener, that certain intentions stated early will be followed on through, and that patterns established early will be patterns honored later, too. And so it is with Songs Without Words, in that the listener can trust when sax or piano stretches out a bit, that the quartet will eventually return to the melody like a traveler returning home after a short journey. It’s a comforting sensation, and when the melodies are as strong as they are here, as a listener, it makes for a satisfying experience.

The opening piano chords on “Uncertain Times” is repeated on sax shortly thereafter, and both drums and bass hint at the melody’s rhythmic pattern throughout. The lovely sigh of contented happiness on “Distraction” isn’t a one-and-done; it’s reflected in every note, even when a little tension is introduced via tempo and tone. It’s also reflected in the album closer “Behind the Sun,” which has much of same blithe spirit as found on “Distraction.”

“Ankunft” has some delightful interplay between piano and drums. It doesn’t make the biggest splash on the tune (that designation would go to Ruby’s driving sax sections), but the subtle delivery of that piano-drum conversation is the winning moment on the track, not to mention reflective of the understated moments that bring a fullness to an album of heavy melodic focus. Similar mention could be made about Anning’s interactions with each of the other three quartet members on “Song of the Past,” particularly by adding his poignant emphasis to sax sections. And when it immediately leads into subsequent track “Distraction,” Anning offers a winning resonance to balance against Ruby’s darting notes on soprano.

The album ends with the catchy “Behind the Sun.” A splendid choice as the album’s final word. It repeats a few of the motifs of early melodies, recalling earlier tunes by way of wrapping things up. But it’s the cadence of the song that clinches it. “Behind the Sun” has a casual lope, the kind of pace one assumes when the race is all but over, the finish line is just a formality, and it’s okay to just enjoy the moment.

And that really speaks to my opening statement, that here is an album with, perhaps, the most substantive melodies collected on any one Jazz album in 2012, and yet possesses so much gold in its rhythmic territory and group dynamics that to engage it as simply an album with catchy tunes is to miss so much of what makes Songs Without Words a wonderful recording.

Released on the Origin Arts OA2 Records label.

Jazz from NYC. - birdistheworm.com


"CD Rezension, Bayerischer Rundfunk, Deutschland"

Wenn ein junger europäischer Jazzmusiker in den USA Fuß fasst, dann hat das seinen Grund. Und in diesem Fall hört man diesen Grund auch sofort.

Autor: Roland Spiegel
Stand: 14.06.2012

Denn der 1982 in Nürnberg geborene Pianist Florian Höfner (nicht zuletzt bekannt aus der sehr erfolgreichen deutschen Gruppe Subtone), der seit 2008 in New York lebt, spielt nicht nur ausgesprochen klar, prägnant und atmosphärisch dicht Klavier, sondern er schreibt auch noch wunderschöne Stücke. Beides zeigt er ausgiebig auf seiner vor kurzem erschienenen CD "Songs without words", die Florian Höfner im Quartett mit Saxophonist Mike Ruby, Bassist Sam Anning und Schlagzeuger Peter Kronreif aufgenommen hat. Diese Besetzung ist Höfners New Yorker Band - und da dies eine Veröffentlichung für den internationalen Markt ist, schreibt der Pianist seinen Namen darauf denn auch ohne Umlaut: "Florian Hoefner Group" heißt die Band hier also.

"Songs without words": Ein Titel wie dieser liegt beim heutigen Jazz in der Luft - und bezieht sich eher nicht auf Mendelssohns "Lieder ohne Worte". Sondern eher auf einen aktuellen Trend: Viele jüngere Jazzmusiker haben in den letzten Jahren die Liebe zum "Song" kultiviert. Das heißt: Lyrische Linien - oder auch singbare Melodien, mit und ohne beteiligte Vokalisten - sind ein wichtiges Phänomen im heutigen Jazz. Musiker bekennen sich vielfach wieder zu griffigen, gut erkennbaren Melodien. Und wären wohl auch nicht beleidigt, wenn man manche ihrer Stücke Ohrwürmer nennt.

Ohrwürmer auf ganz hohem Niveau
Auf dieser CD sind ausschließlich Eigenkompositionen von ihm zu hören, insgesamt acht, und diese Stücke haben meist äußerst einprägsame Themen, stecken allerdings immer auch voller anspruchsvoller Details - so dass die Kenner sich nicht langweilen und alle anderen trotzdem sofort Zugang zu dieser Musik finden. Als Hörer kann man sich in manche Klavier-Harmonien und Saxofon-Kantilenen richtig reinfallen lassen - etwa gleich im ersten Stück "Cross Hill", bei dem das Tenorsaxophon langen lyrischen Atem über leicht verschatteten Harmonien und fließenden Rhythmen findet. Zwischen dieser Komposition und dem fast rockigen Groove des fast magnetischen Schluss-Stücks "Behind the sun" liegen Stücke wie das sich über rasant hingemeißelten Tonketten entwickelnde "Uncertain times" und das vielleicht stärkste von allen, "Ankunft", das über einem pulsierendem Rhythmus melodische Linien spannt, die sich subtil immer eine Windung weiter fortspinnen als erwartet.

Allesamt ein Hör-Vergnügen - an dem auch Florian Höfners Quartett-Partner einen wichtigen Anteil haben. Für mich eine Entdeckung ist der 1987 in Toronto geborene Saxofonist Mike Ruby: Er hat einen ungemein sinnlichen und zugleich feinen Ton sowohl auf dem Tenor- wie auf dem Sopransaxofon. Der aus Australien stammende Bassist Sam Anning und der gebürtige Salzburger Peter Kronreif am Schlagzeug sind ein Gespann voller Groove und Feinsinn. Diese New Yorker Band ist das ideale Quartett für Florian Höfners bemerkenswerte Kompositionen. Großartig spielen diese jungen Jazzer - und ihre Stücke singen dabei. - Bayerischer Rundfunk, München


"CD Rezension, Bayerischer Rundfunk, Deutschland"

Wenn ein junger europäischer Jazzmusiker in den USA Fuß fasst, dann hat das seinen Grund. Und in diesem Fall hört man diesen Grund auch sofort.

Autor: Roland Spiegel
Stand: 14.06.2012

Denn der 1982 in Nürnberg geborene Pianist Florian Höfner (nicht zuletzt bekannt aus der sehr erfolgreichen deutschen Gruppe Subtone), der seit 2008 in New York lebt, spielt nicht nur ausgesprochen klar, prägnant und atmosphärisch dicht Klavier, sondern er schreibt auch noch wunderschöne Stücke. Beides zeigt er ausgiebig auf seiner vor kurzem erschienenen CD "Songs without words", die Florian Höfner im Quartett mit Saxophonist Mike Ruby, Bassist Sam Anning und Schlagzeuger Peter Kronreif aufgenommen hat. Diese Besetzung ist Höfners New Yorker Band - und da dies eine Veröffentlichung für den internationalen Markt ist, schreibt der Pianist seinen Namen darauf denn auch ohne Umlaut: "Florian Hoefner Group" heißt die Band hier also.

"Songs without words": Ein Titel wie dieser liegt beim heutigen Jazz in der Luft - und bezieht sich eher nicht auf Mendelssohns "Lieder ohne Worte". Sondern eher auf einen aktuellen Trend: Viele jüngere Jazzmusiker haben in den letzten Jahren die Liebe zum "Song" kultiviert. Das heißt: Lyrische Linien - oder auch singbare Melodien, mit und ohne beteiligte Vokalisten - sind ein wichtiges Phänomen im heutigen Jazz. Musiker bekennen sich vielfach wieder zu griffigen, gut erkennbaren Melodien. Und wären wohl auch nicht beleidigt, wenn man manche ihrer Stücke Ohrwürmer nennt.

Ohrwürmer auf ganz hohem Niveau
Auf dieser CD sind ausschließlich Eigenkompositionen von ihm zu hören, insgesamt acht, und diese Stücke haben meist äußerst einprägsame Themen, stecken allerdings immer auch voller anspruchsvoller Details - so dass die Kenner sich nicht langweilen und alle anderen trotzdem sofort Zugang zu dieser Musik finden. Als Hörer kann man sich in manche Klavier-Harmonien und Saxofon-Kantilenen richtig reinfallen lassen - etwa gleich im ersten Stück "Cross Hill", bei dem das Tenorsaxophon langen lyrischen Atem über leicht verschatteten Harmonien und fließenden Rhythmen findet. Zwischen dieser Komposition und dem fast rockigen Groove des fast magnetischen Schluss-Stücks "Behind the sun" liegen Stücke wie das sich über rasant hingemeißelten Tonketten entwickelnde "Uncertain times" und das vielleicht stärkste von allen, "Ankunft", das über einem pulsierendem Rhythmus melodische Linien spannt, die sich subtil immer eine Windung weiter fortspinnen als erwartet.

Allesamt ein Hör-Vergnügen - an dem auch Florian Höfners Quartett-Partner einen wichtigen Anteil haben. Für mich eine Entdeckung ist der 1987 in Toronto geborene Saxofonist Mike Ruby: Er hat einen ungemein sinnlichen und zugleich feinen Ton sowohl auf dem Tenor- wie auf dem Sopransaxofon. Der aus Australien stammende Bassist Sam Anning und der gebürtige Salzburger Peter Kronreif am Schlagzeug sind ein Gespann voller Groove und Feinsinn. Diese New Yorker Band ist das ideale Quartett für Florian Höfners bemerkenswerte Kompositionen. Großartig spielen diese jungen Jazzer - und ihre Stücke singen dabei. - Bayerischer Rundfunk, München


"Rezension, Hessisch Niedersächsische Allgemeine, Deutschland"

Grandioses Quartett.
Die Florian Hoefner Group überzeugte.

von Andreas Köthe

KASSEL. Wer vor zehn Gästen spielt, als gäbe man ein Konzert für Barack Obama im Weißen Haus, der liebt seine Musik. Die Florian Hoefner Group zelebrierte mit unbändiger Verve modernsten Jazz vor fast leeren Stuhlreihen im Theaterstübchen.
Die eigenen Kompositionen wurden mit höchster Präzision in ihrer urbanen Vielschichtigkeit und polyrhythmischen Schönheit inszeniert. Die Improvisationen klangen wie kreativ organisierte Schachzüge mit dem Ziel, Energie und Idee zu vereinen.
Dass der Titel ihrer CD „Songs Without Words“ eine synkopische Hommage an die popmusikalische Reduktion auf das Eingängige andeutet, findet in den Arrangements eine eindrucksvolle Bestätigung.
Warme Melodiebögen und aufgeräumte Akkorde entwickeln sich dabei zu komplexen Strukturen mit verschachtelten Betonungen und explodierenden Soli. Das grandiose Miteinander des internationalen Quartetts verrät etwas über die globale Verständlichkeit von Jazzmusik. Bandleader Florian Hoefner begeistert als Komponist und versierter Pianist und ist auf dem besten Weg, sich sein eigenes Universum zu erschaffen. Schlagzeuger Peter Kronreif, der Saxofonist Mike Ruby und Sam Anning am Kontrabass beteiligen sich an diesem Vorhaben mit faszinierendem Ensemblespiel und magischer Improvisationskunst. Großer Applaus - Hessisch Niedersächsische Allgemeine


"Skope Magazine review"

Sometimes strengths could be construed as weaknesses, as here, wherein this jazz-piano New Yorker-by-way-of-Germany stretches out in rabidly improv mode on his opening track, then does a 180 and heads in the direction of chill modern prog, stuff that comprises the bulk of the album. Only reason I mention that is the whole continuity thing; most jazz listeners have to be in weird moods to want to zone in to what sounds on the surface like warmup nonsense. Throughout the entire sphere of music, though, this generation has a hard-on for being predictably unpredictable, so there’s that, but meanwhile, certainly the effortlessness of the players is jaw-dropping as they follow along like a dolphin armada over the stutters and spurts of Hoefner’s hopscotch-like rhythms (“Uncertain Times”) and hotel-bar mellow-outs (“Sometimes”).

Grade: A - Skope Magazine


"Skope Magazine review"

Sometimes strengths could be construed as weaknesses, as here, wherein this jazz-piano New Yorker-by-way-of-Germany stretches out in rabidly improv mode on his opening track, then does a 180 and heads in the direction of chill modern prog, stuff that comprises the bulk of the album. Only reason I mention that is the whole continuity thing; most jazz listeners have to be in weird moods to want to zone in to what sounds on the surface like warmup nonsense. Throughout the entire sphere of music, though, this generation has a hard-on for being predictably unpredictable, so there’s that, but meanwhile, certainly the effortlessness of the players is jaw-dropping as they follow along like a dolphin armada over the stutters and spurts of Hoefner’s hopscotch-like rhythms (“Uncertain Times”) and hotel-bar mellow-outs (“Sometimes”).

Grade: A - Skope Magazine


"Jazz in Space review by Nick Bewsey"

Currently based in New York, the German pianist Florian Hoefner launches his stateside debut, “Songs without Words,” (OA2 Records) a sturdy, involving recording of original tunes that showcases Hoefner’s lyrical style and impressive band mates. Mike Ruby on tenor and soprano saxophones, bassist Sam Anning and Peter Kronreif on drums (each of them are deserving wider recognition as their reps rise) have a tight sound as if they’ve performed as a unit for many years. The pianist’s cohesive tunes emphasize their elegant strengths on a welcome set of tunes that puts committed interplay ahead of a star turn. The fullness of Hoefner’s compositions can be traced to the cool austerity of European jazz paired with the adventurous nature of the Brad Mehldau/Joshua Redman collaborations. The shifting rhythm of “Uncertain Times” and pop-like bounce that underscores “Behind The Sun” further highlight the group’s sense of musical brotherhood. There’s a hint of Horace Silver’s “Song For My Father” on “Songs From the Past,” where Hoefner’s emphatic melodic motif conjures Silver’s licks and pronounced swing, with saxophonist Ruby a particular asset. This is a strong, promising quartet headed by a pianist you’ll want to hear more from. - Jazz in Space


"Urban Flux review by Rob Young"

In retrospect, when I think about music particularly jazz I usually hear it from an abstract prospective. In other words, the seed is planted by the author to generate innovative, alluring melodies and stimulating progressions. From this point, creativity follows to develop a sequence of patterns, colors, and shapes. These of course are the essential elements formulated to create a montage of eclectic, cultured and emotional nuances nurtured from the heart, spirit and soul of the writer. With that said, these are among many reasons I’m elated to introduce a remarkably fresh voice in jazz the Florian Hoefner Group and their latest offering fittingly titled “Songs Without Words.”

Currently based in New York, German born pianist Florian Hoefner scored and arranged all compositions on this project, he also held down production duties as well. Furthermore, this accomplished pianist is a two-time winner of the ASCAP Young Jazz Composer Award. With this project, the creative genius of Hoefner is revealed, he serves up eight distinctive originals for music fans and jazz enthusiasts alike to enjoy.

With all the proper education and accolades acquired Hoefner has earned his stripes as a musician and composer on the road to “Songs without Words.” From the onset, his voice speaks with gentle and buoyant tones framed by a multi-colored hue of palpable layers outlined on the opening track “Cross Hill.”

The post-bop flavored “Uncertain Times” uncovers the progressive side of Hoefner’s penmanship composition wise and spawns a fresh and intense sound. This piece calls on saxophonist Mike Ruby to step out and provides him plenty of room to stretch his voice on tenor. Ruby shares the space well with the group, together as an ensemble they absolutely rip it up! At the third spot, the mournful yet sublime melodies of “Sometimes” penetrate through the cavity of the song with a quiet, expressive and brighten tonality for music lovers to indulge.

“Song of The Past” slowly increases in tempo and creates an enjoyable Mediterranean like vibe. The next piece “Distraction,” opens with a gentle sway rhythmically while influenced harmonically by a rush of classical voicing’s interface smoothly. Soloist Ruby plays the soprano yet his voice modulates similarly to the clarinet, the music builds to evoke a sonata of complex tones that join forces and burst into an extensive fusion of superb interplay by the group that is no doubt a satisfying experience to witness.

“Ivory” as I imagined this piece encompasses Rudy’s gorgeous timbre on tenor horn while attached to the voicing of Hoefner on piano plays soulfully with an angular approach that’s wistful and dexterous skills allows him to effectively correspond in conversation with the group as a unit their sound flourishes with an inviting pulse elevates this thought-provoking piece.

“Ankunft and Behind the Sun” sum-ups this transcendent musical template very well, both tracks have differing yet similar traits melodically. Although skillfully pursued by Hoefner and his cohorts they go beyond the realm of ordinary and created a composite of inviting shapes and molten patterns that are well within the scope of novices.

One thing I adore about European jazz artists, particularly pianist Florian Hoefner. He amazingly uses his natural gift and vision to integrate the complexities of jazz and classical and unite them into a listenable context and unmask their integral voicings without losing integrity in this inescapable collection. Artistically, “Songs Without Words” sonically replicates both origins impeccably to solidify the importance of original jazz compositions through the imagination of an emerging new voice pianist and composer Florian Hoefner. - Urban Flux


"The Urban Flux review by Rob Young"

In retrospect, when I think about music particularly jazz I usually hear it from an abstract prospective. In other words, the seed is planted by the author to generate innovative, alluring melodies and stimulating progressions. From this point, creativity follows to develop a sequence of patterns, colors, and shapes. These of course are the essential elements formulated to create a montage of eclectic, cultured and emotional nuances nurtured from the heart, spirit and soul of the writer. With that said, these are among many reasons I’m elated to introduce a remarkably fresh voice in jazz the Florian Hoefner Group and their latest offering fittingly titled “Songs Without Words.”

Currently based in New York, German born pianist Florian Hoefner scored and arranged all compositions on this project, he also held down production duties as well. Furthermore, this accomplished pianist is a two-time winner of the ASCAP Young Jazz Composer Award. With this project, the creative genius of Hoefner is revealed, he serves up eight distinctive originals for music fans and jazz enthusiasts alike to enjoy.

With all the proper education and accolades acquired Hoefner has earned his stripes as a musician and composer on the road to “Songs without Words.” From the onset, his voice speaks with gentle and buoyant tones framed by a multi-colored hue of palpable layers outlined on the opening track “Cross Hill.”

The post-bop flavored “Uncertain Times” uncovers the progressive side of Hoefner’s penmanship composition wise and spawns a fresh and intense sound. This piece calls on saxophonist Mike Ruby to step out and provides him plenty of room to stretch his voice on tenor. Ruby shares the space well with the group, together as an ensemble they absolutely rip it up! At the third spot, the mournful yet sublime melodies of “Sometimes” penetrate through the cavity of the song with a quiet, expressive and brighten tonality for music lovers to indulge.

“Song of The Past” slowly increases in tempo and creates an enjoyable Mediterranean like vibe. The next piece “Distraction,” opens with a gentle sway rhythmically while influenced harmonically by a rush of classical voicing’s interface smoothly. Soloist Ruby plays the soprano yet his voice modulates similarly to the clarinet, the music builds to evoke a sonata of complex tones that join forces and burst into an extensive fusion of superb interplay by the group that is no doubt a satisfying experience to witness.

“Ivory” as I imagined this piece encompasses Rudy’s gorgeous timbre on tenor horn while attached to the voicing of Hoefner on piano plays soulfully with an angular approach that’s wistful and dexterous skills allows him to effectively correspond in conversation with the group as a unit their sound flourishes with an inviting pulse elevates this thought-provoking piece.

“Ankunft and Behind the Sun” sum-ups this transcendent musical template very well, both tracks have differing yet similar traits melodically. Although skillfully pursued by Hoefner and his cohorts they go beyond the realm of ordinary and created a composite of inviting shapes and molten patterns that are well within the scope of novices.

One thing I adore about European jazz artists, particularly pianist Florian Hoefner. He amazingly uses his natural gift and vision to integrate the complexities of jazz and classical and unite them into a listenable context and unmask their integral voicings without losing integrity in this inescapable collection. Artistically, “Songs Without Words” sonically replicates both origins impeccably to solidify the importance of original jazz compositions through the imagination of an emerging new voice pianist and composer Florian Hoefner.

Recommend by Rob Young | Urban Flux Media | Review

Meet the Band:
Mike Ruby – tenor and soprano saxophone
Florian Hoefner – piano
Sam Anning –bass
Peter Kronreif– drums
- The Urban Flux


Discography

Florian Hoefner Group - Falling Up. OA2 Records 2013

Florian Hoefner Group - Songs Without Words. OA2 Records 2012

Airplay on WRTI, WWSP, KSVY, WDIY, KCSM, KBOO, WVIA, KSDS, WMNF, WKAR, WSKG, KMUW (USA)
Hessischer Rundfunk, Bayerischer Rundfunk, Norddeutscher Rundfunk, Radio Bremen, RBB (Germany)

Featured recording on the Lufthansa in-flight entertainment.

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Bio

Since their formation in New York City five years ago, the Florian Hoefner Group has constantly been evolving their unique brand of modern jazz, winning fans and critics around the globe with their creativity, virtuosity, and captivating live performances. Led by pianist Florian Hoefner, the quartet combines highly inventive writing with electrifying improvisations and interplay. Florian’s award-winning compositions draw from a myriad of influences from folk to contemporary classical music, appealing to a wide span of music fans and jazz lovers alike.

After two successful album releases with over 90 live dates in 8 different countries, airplay on radio stations across the US, Canada and Europe, and reviews in major publications on both sides of the Atlantic, the band now presents its third record, “Luminosity” on Origin Records. The album introduces a new set of Florian’s notable originals and, for the first time, features Seamus Blake on tenor saxophone. A sneak preview of the new material at the Montréal Jazz Festival 2015 resulted in Florian’s capture of the Stingray Rising Star Award for his compositions. Infused with his usual diversity of styles, this new album also borrows from the traditional music of Florian’s new home in St. John’s, Newfoundland.

The other three band members are all accomplished performers on their own. Tenor saxophonist, Seamus Blake, is recognized as one of the finest exponents in modern jazz. He is the winner of the prestigious Thelonious Monk International Jazz Competition and has played with artists including Brad Mehldau, John Scofield, Antonio Sanchez and Brian Blade. Bassist, Sam Anning, has performed with the likes of Kenny Werner, George Garzone, Cyrille Aimée and Jim Black and is a recipient of the Toyota Scholarship for Jazz. Drummer, Peter Kronreif has played on more than 30 CD releases and currently can be heard with some of New York City’s most exciting emerging artists such as John Ellis, Alan Harris, and the LeBoeuf Brothers.    

Band Members