Hubert Nuss interviewed by Pablo Held (engl. subs included!)
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- Опубликовано: 29 июл 2018
- The first time I heard Hubert’s music was when a friend of mine gave me his record “The Shimmering Colours Of The Stained Glass”, I guess this might have been sometime in 2003. At first I didn’t know what to make of it and actually cast it aside for a while. I couldn’t grasp what he was doing, I didn’t know what these mysterious chords were that he played, I couldn’t “hear” them - I was puzzled! Quickly, I felt the urge to go back to it and check it out more, seeking a deeper understanding of what I heard on the record. People told me that Hubert Nuss was deeply influenced by Olivier Messiaen, a name I hadn’t heard until that point. So I did my homework and checked some pieces by Messiaen and also some other records that Hubert played on. This led to me completely falling in love with Hubert’s playing (and of course Messiaen’s music, too)! I couldn’t stop listening to him!! Important records for me during this time were of course Hubert’s own records (“The Shimmering Colours Of The Stained Glass” & “The Underwater Poet”) , but also records by Peter Weniger (“Weirdos” & “Tip Tap”) and “Ouvido” by Alexandra Nauditt (with Hubert, Paul Heller & Dietmar Fuhr).
I’ve had the great pleasure of studying with Hubert for a couple of years and he became my mentor and my friend during this time. We’ve spent countless hours listening to music, hanging and playing together and I’ll cherish these memories forever. Without a doubt he had an immense impact on my musical development and his wisdom remains a deep source of inspiration for me to this day.
Also, I’ve been lucky to get Hubert to play on a couple of my records: GLOW, GLOW II & INVESTIGATIONS which of course means a lot to me.
Sharing this particular conversation gives me a great joy, since it displays a Hubert&Pablo-hang in it’s purest form: talking about music, showing each other stuff at the piano and listening to music together. After every time I get to see Hubert I feel inspired - I hope you feel the same way after watching this.
a few pointers 👉
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I always looked at E7 to Fmaj as a deceptive cadence borrowed from the A minor (V-VI).
Thanks for the great interview! :)
Hubert sincerely takes care of his music in a beautiful way. It's fascinating!
Pablo, This video with Hubert Nuss (an artist previously unknown to me) has been immensely helpful to my own understanding and use of fully chromatic harmony, especially the part that begins around 59:40, where Hubert explains "you feel the sound until the end", the importance of "feeling good," how "the ear finds a way," and how we are "disconnect fro consciousness" when we are truly improvising well. Wonderful. Thank you!
danke für diese Klavierstunde, Herr Nuss!
Love your interviews, Pablo. always inspiring.
you made my day ;-)
Dank dir sehr für deine Interviewreihe!
Ralle! Danke Dir!!
Tolles Gespräch und total spannende Einblicke :) Vielen Dank
Danke!!
The harmonic density is addictive.
voll geil. hoffe da kommt noch einiges
Kommt!
Thanks for the English subs.
sehr sehr nice!!
Danke!
Von dem Maler Auguste Renoir erzählt man sich, er habe am Tag vor seinem Tod gesagt: "So langsam verstehe ich etwas von Malen." Da war er fast achzig.
Super interessant. Vielen Dank.
Danke!!
warum sehe ich das jetzt erst?? grandioso
Quick heads-up: we'll be doing a live online masterclass + Q&A with Hubert Nuss: "Messiaen Modes applied to Jazz Harmony" (and already did with Pablo ;)). DETAILS: JazzHeaven.com/live (November 24, 2019 - and will also be recorded)
I’d love to see that!!
Stark!
Ich bin wieder völlig gefangen in den Sounds... Großartig! Danke für die Einblicke! Eine Frage habe ich noch: Warum passt der Gmaj7#5 als Dominante neben dem G7alt nach Cm? unabhängig davon, dass es einfach gut klingt! Viele Grüße aus Berlin
Yeah Johannes. Gmaj7#5 ist eine Abwandlung/Erweiterung der übermäßigen Dominate G7, oftmals zu hören bei Ravel.
Liebe Kollegen, ein sehr schönes und informatives Gespräch. -- Die Melodie von *I'll Be Seeing You* basiert zumindest teilweise auf dem 6. Satz von Gustav Mahlers 3. Symphonie ... und die Donald Byrd/ Claire Fischer Nummer klingt total nach Maurice Ravels *Pavane* (pour une infante défunte). -- Hier ein kleines Dankeschön (Tony Fruscella war frei!): ruclips.net/video/YNMXG3DoIFY/видео.html
Ohja Tony Fruscella's Version ist einer der schönsten! Wahrscheinlich ist meine Lieblingsversion von Rickie Lee Jones
wunderschöne neue CD von Hubert Nuss: ruclips.net/video/bsGQ2F84mJw/видео.html
Hi Pablo! Tolles Video! Kannst du mir bitte sagen wie die Stücke heißen, die ihr am Ende zusammen anhört? Besten Dank
Hey!
"Prokofiev's "Songs Without Words" Op. 35 No I & II
Bach's 2stimmige Invention #13 gespielt von Walter Gieseking
Donald Byrd with Strings
Aus welchem fats navarro solo ist diese line?
wow! what are the chords at 9:38?
Hey James!--- love your playing!! Thanks for checking out the interview . Here are the chords you asked about:
F Pedal in the bass + LEFT HAND: (F) G A C E & RIGHT HAND : alternating between B E G# C & C# F# Bb D
@@PabloHeldmusic Hey thanks Pablo! Likewise!