PIANIST | COMPOSER
PIANIST | COMPOSER
(AJ Dehany, London jazz)
“To what degree can I challenge your perception of melody, of tonality, of pulse? Maybe the joy of art is exactly to focus on these less expected pathways, these new directions filled with surprise and excitement.”
Drawing inspiration from different world genres, chants, voices, poems and animal sounds, Henrique Eisenmann is changing the paradigm of contemporary improvisation, creating an original musical universe that is powerfully inventive, authentic and accessible to anyone
Born in São Paulo, Brazil, Eisenmann has always been intrigued with the idea of translating different musical sonorities to the piano. Eisenmann focuses on unique collaborations with artists from all different fields: dancers, poets, and actors. Among his latest releases, the 2017 album "The Free Poetics of Henrique Eisenmann" (Red Piano Records) has drawn unanimous praise from critics across the world. Eisenmann has performed in numerous international jazz festivals and has worked with dozens of outstanding musicians such as Gunther Schuller, Luciana Souza, George Garzone, Matti Caspi and Tom Zé. His doctoral thesis explored the idea of free improvisation as an international phenomenon. Henrique is part of the jazz piano faculty at the New England Conservatory in Boston.
“Brazilian Composer and pianist Henrique Eisenmann effortlessly braids ideas from disparate traditions and disciplines on this rigorously conceived quartet outing….” (READ MORE)
“The Free Poetics of Henrique Eisenmann” (on Red Piano Records) is a reminder that jazz musicians come from all over the world and jazz settings of poetry are not limited to the English language" ... (READ MORE)
"The Free Poetics is eclectic in inspiration, but unified by the distinctive, intriguing vision of Henrique Eisenmann seeking, wherever inspiration may lead, the elusive soul of art." (READ MORE)
Collaborations, partnerships, Creative ideas
GEORGE BALANCHINE ONCE SAID: "DANCING IS MUSIC MADE VISIBLE". I WOULD ULTIMATELY DARE TO SAY THAT "MUSIC IS POETRY MADE INVISIBLE" EISENMANN
In this new groundbreaking record, Eisenmann teamed up with poet Hadassa Tal with the goal to create a new musical language for the piano able to translate words and movement into sounds. Initially Henrique worked over the recorded voice of Hadassa Tal reciting her poems in Hebrew, and then gave form, harmony and rhythm to the melodies. "As my homage to Pina Bausch, I decided to compose using the form of a Baroque suite, which is nothing more than a collection of different dances, but with a contemporary aesthetic approach." Later dancer Rina Shenfeld joined the group to bring her own choreography and her experience from the time she was in Pina's company.
"The Free Poetics of Hermeto Pascoal: Mythology or Methodology" is Henrique Eisenmann's doctoral thesis, completed in 2017. It is a creative study on free improvisation, criticizing the Western world sense of ownership over the avant-garde, and advocating for the idea that free playing is an international phenomenon. Bringing together ideas from the fields of Anthropology, Biology, Psychology and Musicology, this paper is a great door into the world of composer Hermeto Pascoal and the ideas of free music outside of the US and Europe.
Henrique Eisenmann, DMA.
11 de Julho de 2019
Nos últimos dias recebi várias mensagens me pedindo para esclarecer alguns aspectos sobre o que realmente foi a revolução musical trazida à tona pelo baiano de Juazeiro, João Gilberto, que nos deixou no último Sábado.
Talvez por conta de toda uma mitologia que se erigiu ao redor de sua persona através da imprensa, da literatura e da academia, João tornou-se um monumento difícil de se tocar, contestar, estudar, criticar e compreender. Há os defensores cegos do legado de João, colocando-o frequentemente no zênite do panteão da música brasileira (a revista Rolling Stone elegeu-o como segundo músico brasileiro mais importante de todos os tempos). Do outro lado, há os que defendem que o legado de João foi um desserviço à identidade nacional; uma “americanização” da música brasileira, fruto das “experiências de apartamento” da classe média-alta carioca regadas a whisky importado. Meus anos de experiência com pesquisa acadêmica me ensinaram que toda vez que visões tão opostas surgem, nunca há um lado dono da verdade. É preciso apenas enxergar a situação em sua complexidade, cheia de contradições, mitologias, erros e acertos. O que não podemos negar, é que o João é figura central na história da Bossa Nova, e portanto da música brasileira. No ano de 1965, em meio ao sucesso dos Beatles, é preciso lembrar que o Grammy de melhor álbum foi concedido a João, não ao John…………………………
The Alfaia Quintet initially began as a collaboration between Syrian oud virtuoso Kenan Adnawi and Brazilian pianist Henrique Eisenmann. Eisenmann was drawn to Adnawi’s expressive performance of traditional Arabic music and together they began experimenting with a fusion between Adnawi’s compositions and Eisenmann’s roots in Brazilian jazz and experimental music. The duo quickly recruited the versatile double bass player Kirsten Lamb (USA) and woodwind multi-instrumentalist Gustavo D’Amico (Brazil) and Palestinian percussionist Tareq Rantisi. In 2015, the ensemble had the opportunity to work with John Zorn to prepare a program of his original music for performance at the Stone (NYC).