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  1. www.barbaradennerlein.com › en › cdsBARBARA DENNERLEIN

    OUTHIPPED Verve Records Barbara Dennerlein - Hammond organ B3 & footpedals, synthesizer Don Alias - percussion Ray Anderson - trombone, tuba Darren Barrett - trumpet James Genus - bass Craig Handy - tenor and baritone saxophones Antonio Hart - alto and soprano saxophones Steve Nelson - marimba, vibraphone Alex Sipiagin - flugelhorn

  2. 8 de sept. de 2018 · Barbara Dennerlein Duo, with the great Daniel Messina on drums, plays the title track from her last album on Verve with Italian guitarist Gino Semele. Reco...

  3. Listen to Outhipped by Barbara Dennerlein on Apple Music. Stream songs including "Outhipped", "Frog Dance" and more. ... More By Barbara Dennerlein Bebabaloo. 2010. Studio Konzert for Headphones - EP. 2019. Love Letters. 2001. Christmas Soul (Bonus Track Version) 2015. Take Off.

  4. Barbara Dennerlein belongs to the small circle of German artists of international repute. On her recordings and in her concerts, she stands out as a member of a new generation of jazz musicians, and is regarded by her peers and her audiences alike as one of the leading representatives of her instruments: the legendary Hammond B3, and the mighty pipe organ.

  5. 2 de ago. de 2020 · Barbara Dennerlein: Outhipped. by C. Andrew Hovan February 1, 2000. One of the best-kept secrets of the burgeoning revivalist movement involving the Hammond B3 organ has been the unusual, but consistently underrated efforts of Barbara Dennerlein.

  6. Barbara Dennerlein. In the early 1980's she was a secret known only to insiders on the Munich jazz scene: 15-year-old Barbara Dennerlein, captivating an enthusiastic audience with impressive wit and skill as she whirled her fingers over the B3 Hammond organ - an instrument often derided and associated with the dusty patina of bar jazz.

  7. Barbara Dennerlein is a German jazz organist. She has achieved particular critical acclaim for using the bass pedalboard on a Hammond organ and for integrating synthesizer sounds onto the instrument, and was described by critic Ron Wynn as "the most interesting jazz organist to emerge during the 1980s".