Ingrid Laubrock is a German saxophonist/composer who has been based in Brooklyn NY since 2009. Laubrock is interested in exploring the borders between musical realms and creates multi-layered, dense and often evocative sound worlds. She has collaborated with many of today's most innovative jazz luminaries, such as Tom Rainey, Mary Halvorson, Craig Taborn, Tyshawn Sorey, Kris Davis, Aki Takase and many others. Ingrid is also associated with production maven David Breskin, who was featured recently in the Audeze Artist blog.
Here is our interview with Ingrid:Can you pick out any favorites from your work that you're particularly proud of?
Composer, saxophonist, musical director and producer.
Do you have a favorite instrument or two that inspire you in your playing?
How did you get started in your area of music?
I fell into it by doing it…30 years ago! I grew up in a tiny village but was lucky that my parents were very much into classical music. My dad played piano and both of my parents sang in choirs. I started having music lessons age 4 and learned piano from age 8, sang in church choirs and played the recorder in a quartet. That was pretty much what was available in a small rural place. The saxophone came later, after I moved to London aged 18. I spent 20 years in London ‘figuring it out’ before moving to Brooklyn in 2009 to join my (now) husband.
Do you have any words of wisdom for people who might aspire to get where you are in their own careers?
Work hard, accept that you have to do a bunch of stuff that has nothing to do with music to make it happen, don’t let anyone influence you TOO much and don’t give up!
How long have you been working with headphones, and what inspired you to start including them in your workflow?
I ... did track the record I am currently working on with David Breskin’s EL-8s. That felt amazing as the sound is so much more real than most studio headphones and I felt less disconnected from my instrument than I often do when recording with headphones. As a saxophone player it is never great to not hear the source of the sound coming out of the instrument. The Audeze headphones were the most realistic sounding I have ever tried in the studio.
Tom and I did a live online concert with a bassist who was in a different place and I used the LCD-XC - it sounded great and was not that different than playing in a recording studio. Much better than my previous experiences with that sort of thing.
What strikes me about the LCD-XC, used in a remote real time orchestra mixing session with Ron Saint Germain and David Breskin, is the incredible spatial awareness I had while listening. We were mixing a small chamber orchestra with the addition of saxophone, piano, bass, drums and electronics and I could literally “see” the musicians and where they were sitting in the room in front of my inner eye. The dynamic response is also phenomenal, every small sound is crystal clear and nothing felt cluttered, even in very dense music. (The album is called Dreamt Twice, Twice Dreamt and will be out on Intakt Records in November 2020.)
Here's a photo of Ron, Ingrid and David from the remote session mentioned above:
And lastly, here's a great video from the Contemporary Chaos Practices sessions, where you can see glimpses of Ingrid, Kris, Mary, Ron and David (among lots of others):