Ossobuco II
– Jakob :
This first shared musical encounter felt like a conversation with a stranger who somehow held the subtle flavor of long familiarity.
Sounds found their counterparts, unfolded organically, breathed, and resonated.
Feedback loops steadied and frayed — between membrane and pickup, between trembling air in adjacent chambers, between flickers of thought and idea, image and memory, tonality and noise.
Together, we shaped a sculpture of sound — assembling, eroding, carving away here, layering there — dissolving into a dynamic equilibrium of listening and shaping.
– Alex :
My encounter with Jakob happened by chance, during a concert night organized by Via Cava (viacava.bandcamp.com) at the Olympic Café.
Jakob was passing through Paris and, that evening, before the concerts, I heard him talking with the sound engineer about Agenda Informe (agenda-informe.com).
Being a friend of the webzine editor (and an admirer of his work), I took the liberty of joining the… mehr
Mitwirkende
veröffentlicht am 9. Juli 2025
Jakob Jentgens : Tenor saxophone
Alex January : Electric guitar, spring reverb tank + e-bow, amplifier, speaker
Recorded and mixed by Alex January
Jakob Jentgens is a saxophonist with a focus on interdisciplinary collaboration and improvisation. He studied jazz saxophone (Bachelor’s and Master’s) at the Folkwang University of the Arts. During his studies, he was also a member of the Free Interdisciplinary Performance Lab led by Marina Abramović. He is involved in various projects within the free scene in Germany, including The Dorf, CUMA Kollektiv (Folkwang Prize 2021), and Entretemps (Jazz@undesigned Prize 2023), as well as in interdisciplinary collaborations with dance, theater, puppet theater, and storytelling. Through his artistic work, he seeks to expand listening habits, connect with his audiences, and invite them to openness through a playful approach to ambiguity.
jakobjentgens.de
jakobjentgens.bandcamp.com
Alex January is a French/Italian sound and video artist, currently based in Paris, France.
In recent years, Alex’s music has increasingly focused on feedback phenomena, both acoustic and electronic.
Alongside his practice of the Serge modular synthesizer – a true feedback machine – he arrays simple, rudimentary setups that work as compositional and performative maps, whether through the use of no-input mixers and guitar pedals, through interaction between video and audio signals, by setting up closed loops of looping devices or by just placing a guitar against an amplifier/speaker, with slow and subtle movements of the potentiometers and the guitar body as exclusive means of control.
For each of these devices and for the compositions and performances they generate, Alex attempts to reconstruct each time a most suitable language, bringing it forth from the devices themselves rather than from any pre-established intention, and, more and more in recent times, attempting to simplify as much as possible.
Image edited from Kirkes‘ handbook of physiology by William Senhouses Kirkes & Charles Wilson Greene, 1907
archive.org/details/kirkeshandbookof00kirk/page/618/mode/1up
