For over thirteen years, German jazz quartet Schmid’s Huhn has been refining a musical language that thrives between meticulous composition and fearless improvisation. On their fourth album, Hindemith Abstractions, the ensemble—Stefan Karl Schmid (tenor saxophone), Leonhard Huhn (alto saxophone), Stefan Schönegg (bass), and Fabian Arends (drums)—ventures into the world of composer Paul Hindemith, not by recreating his music but by transforming its essence into something strikingly contemporary. The result is an adventurous work where post-bop, cool jazz, avant-garde experimentation, and free improvisation converge into a soundscape that feels intellectually stimulating while remaining emotionally absorbing.
The opening movement, “The Little Jazz Musician’s Favorites – Part 1: Form,” immediately establishes the album’s distinctive atmosphere. Raw woodwind tones emerge with such intimacy that every breath through the saxophone becomes part of the composition itself. Before long, rustling percussion and distant cymbal splashes quietly seep into the arrangement, creating a mysterious pulse beneath the melodic conversation. As the second horn joins in, the musicians engage in an almost playful dialogue, weaving hypnotic motifs together with remarkable spontaneity. It’s intricate without becoming inaccessible, rewarding careful listening with countless subtle details.
Later, “Intermission” serves as a meditative pause rather than a conventional break. Its restrained pacing, muted rhythmic current, and understated tension allow silence to become as expressive as sound. Instead of demanding attention through technical displays, the quartet trusts atmosphere to do the heavy lifting, inviting listeners into a reflective state before the album resumes its exploratory journey.
Closing the record, “Reflections on Hindemith – Abstract 5: Syntony” feels almost cinematic in its ambiguity. A haunting woodwind line drifts over dark, low-frequency currents, suggesting an unspoken warning or forgotten memory. The performance never resolves into certainty, and that lingering sense of mystery becomes its greatest strength. Schmid’s Huhn embraces ambiguity, allowing intuition and collective chemistry to guide every phrase.
Hindemith Abstractions is ultimately a testament to trust—trust between musicians, between composition and improvisation, and between tradition and innovation.
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Review by: Naomi Joan