Music In A Mirror – a story behind every song
The opener Far From Eden – The Carpenters may serve as a reference here, musically. A melody to whistle along… and Bob Mintzer with one of the best tenor solos of pop history!
Change of style: From Chicago straight to Memphis and back again – Sabina, Bob & The Mirror Horns, with Jake and Elwood Blues in the trunk of the car… Sometimes I Miss Him!
Still got the Blues. And only Friday Will Last! and blown away – literally – it will be, the blues.
Instead: Latin groove! Let’s party, let’s dance, let’s Live As If You’d Die Tomorrow!
Music In A Mirror. The title song. Including everything that contributes to this album. Jazz? Folk? Pop? Don’t ask. And as a special colour: Bob playing the bass clarinette.
In Midsummer Rain there is the next cult band lurking around the corner: Steely Dan. Funky and cool.
No Brass. No Bob. But Woodstock-Feeling instead, including a fat electric guitar.
Purple River – Rock’n’Roll will never die!
Love Don’t Ask has Quincy Jones saying hello… Relaxed, swinging, but then: Bob’s Tenorsax Solo, The Mirror Horns & Sabina on the Fender Rhodes. Groovy!
Frozen Love. Sabina on the Grand Klavier and Bob with his bass clarinet. No more, no less. Pure atmosphere.
One last time that intriguing mix of Jazz, Folk and Pop. And Carole King’s „Tapestry“. Just Don’t Go!
producer’s notes (by Andreas Rathammer & Heinrich Schläfer)
Is it allowed for any respected Jazz Musician to begin a record with a simple Cadd9 chord on the piano? May a singer/songwriter express his overwhelming joy about music on a Bösendorfer Imperial Grand Piano and with the other hand on a Fender Rhodes in parallel? Can she just radically change style, colours, sound and moods from one song to the next one and compile an album of hits while still remaining faithful to her very own style?
Well, here’s the answer: What if she just recorded a pure, pristine trio album four years ago and now wants to move on to something completely different? Maybe even use a brass section, an electric guitar, Fender Rhodes and an electric bass?
Why is one of the most subtle and understating drummers of europe suddenly moving on to straight beats, funky feeling and even pop style drumming? And finally: Is it a good sign when Bob Mintzer asks if he may join Sabina Hank on that record…
But also: What would happen if Quinton brings together noble jazz sound and pop production techniques?
Listen To The Music.
Sabina met Bob Mintzer in winter 2002 during a concert tour. They instantly liked eachother’s attitude and got along very well. But: Neither Quinton nor Sabina Hank would have been satisfied if Bob would have just come in and played a few songs on her record. The goal was to have him there for the whole album and make him part of the band. And – though on a tight time schedule we managed to realise that dream. And Bob was very happy about it, too! So now he is there playing on almost every title with Bass Clarinet or Tenor Sax. And in the brass section, too – of course! And naturally with some of the greatest soli you will get on a record like this…
Sabina Hank – voc, p, fender rhodes, arr, comp
Bob Mintzer – saxophone, bass clarinet
Christian Diener – b
Alexander Meik – b
Stephan Eppinger – dr
Martin Scales – guit
Herbert Berger – ts
Horst Michael Schaffer – trp
Matthias Götz – tb
Ingrid Oberkanins – perc