Solal-Pedersen-Duo live at Berliner Jazztage 1976

Martial Solal: Piano
Niels Henning Ørsted-Pedersen: Bass
Berlin, Philharmonie, November 3, 1976

1. Bemsha Swing (Thelonious Monk)
2. Note-ability (Martial Solal)
3. Afternoon`s Sentiment (Niels Henning Orsted-Pedersen)
4. Lalos (Martial Solal)
5. Donna Lee (Miles Davis; Charlie Parker)
6. The Continental (Con Conrad; Herbert Adolph Magidson)

In 1976 these two European giants recorded "Movability" for the legendary MPS label. I have no idea, if this must have lp was ever re-released on cd.

Vijay Iyer live at 32nd Leverkusener Jazztage 2011

Vijay Iyer, piano
recorded live at Forum, Leverkusen, November 6, 2011

1. One For Blunt
2. Imagine

About Vijay´s album "Solo" I wrote earlier on this blog. Accelerando is the follow-up to the Vijay Iyer Trio's Grammy-nominated Historicity – voted the No. 1 jazz album of 2009 around the world, including in the Downbeat critics' poll and by The New York Times
Vijay Iyer's career has moved on an ever-accelerating arc over the past decade and a half, with the Indian-American artist earning a slew of international honors for his intrepid, multi-hued vision of 21st-century music. The latest chapter of this compelling story in contemporary jazz comes with the Vijay Iyer Trio's Accelerando, an album driven by the visceral, universal, intoxicating experience of rhythm. Accelerando sees Iyer and his telepathic trio mates – bassist Stephan Crump and drummer Marcus Gilmore – go both deep and wide. They light up material that ranges from a brace of bold Iyer originals and pieces by great jazz composers (Duke Ellington, Herbie Nichols, Henry Threadgill) to surprising interpretations of vintage and recent pop and funk tunes (Michael Jackson, Heatwave, Flying Lotus). Absorbing and infectious, this is jazz about not only the mind but the body.

Kurt Elling Quintet live at Leverkusener Jazztage 2011

Kurt Elling, Vocals
John McLean, Guitar
Laurence Hobgood, Piano
Clark Sommers, Bass
Ulysses Owens, Drums
Recorded live at Forum Leverkusen, November 2011

1. Stepping Out
2. Dedicated To You (Saul Chaplin/Sammy Cahn/Hyman Zaret)
3. Samurai Cowboy (Mark Johnson/Kurt Elling)
4. Norwegian Wood (John Lennon/Paul McCartney)
5. After the love has gone (David Foster/Jay Graydon/Bill Champlin)
6. The Waking (Rob Amster/Kurt Elling /Theodore Roethke)
7. Golden Lady (Stevie Wonder)

I already introduced Kurt´s latest CD "The Gate" to you earlier on this blog. On Nightmoves, his brilliant debut for Concord Records and seventh outing overall, Elling artfully blends his rich baritone voice with signature scatting and virtuosic vocalese in a wide-ranging repertoire of tunes associated with such greats as Frank Sinatra, Antonio Carlos Jobim, Irving Berlin, Betty Carter, Duke Ellington, Dexter Gordon and Keith Jarrett. His most ambitious undertaking to date, it features his working trio of bassist Rob Amster, drummer Willie Jones III and longtime creative partner, pianist-arranger Laurence Hobgood, along with such special guests as The Escher String Quartet, bassist Christian McBride, Yellowjackets tenor saxophonist Bob Mintzer, guitarist Guilherme Monterio, keyboardist Rob Mounsey and harmonica virtuosos Howard Levy and Gregoire Maret.

Kyle Eastwood Quintet live at Leverkusener Jazztage 2011

Kyle Eastwood – bass
Jim Rotondi – trumpet
Andrew McCormack – piano
Graeme Blevins – saxophone
Martin Kaine - drums
Recorded live at Forum Leverkusen, November 2011

1. Tonic
2. Cosmo
3. Marakesh
4. Letters From Iwo Jima
5. Café Calypso

Kyle Eastwood’s record, Metropolitain, was released in June 2009 in the US. It was recorded in Paris and includes collaborations with some of the artists he admires most on the current scene: drummer Manu Katche, trumpeter Till Bronner, French star vocalist Camille and pianist Eric Legnini.
Co-produced by Erin Davis (son of Miles) and Kyle’s long term writing partner Michael Stevens, the album captured the attention of the jazz world with its forward thinking style and the gathering of some of the cream of today’s jazz musicians.
When he is not on tour, Kyle spends much of his time between Paris and Los Angeles and is very much at home in France, so it was natural to look there for an ideal place where he and his musicians could relax for a few days and allow their creative juices to flow. Such a place turned out to be the fabulous 15th Century Couronneau in Ligueux, deep in classic Bordeaux country, and Songs From The Chateau was born. To capture the authentic sound of the all star band Kyle has on display, producer Crofton Orr and the engineering of Simone Griva were enlisted. Also on board was long time collaborator Michael Stevens (co-writer with Kyle on the scores for films including Changeling and Gran Torino).
The record itself contains more than a casual nod towards France, Kyle’s second country. The opener Marciac, scene of the famous jazz festival where Kyle played in 2010, gets the programme underway in impressive fashion as drummer Martyn Kaine ushers in authoritative and fluent solo contributions from the two Graemes (Flowers and Blevins, on trumpet and saxophone, respectively), whilst the admirably atmospheric Moon Over Couronneau shows off the impressive talents of pianist Andrew McCormack. This is in turn underpinned by Kyle himself, who then comes to the fore on Aperitif – a sharpener that goes down very smoothly, in the best sense of the word.
Around Kyle, the band is tight through the album, and inventive highlights abound. The vivacious and aptly named Café Calypso sees Blevins getting deeply into the Caribbean grooves with his jaunty and spirited saxophone. The reflective tone of Soul Captain has some tasty McCormack piano complemented by Blevins’ soprano. Andalucía is descriptive, enhanced by Kyle’s virtuostic solo and hypnotic bass figure, permeated by the haunting trumpet of Graeme Flowers.
Flowers’ flugelhorn and Kyle’s stylish bass lead again on Over The Line while the album finishes with a fond reminiscence of you-know-who, Down At Ronnie’s. The band confidently struts its stuff with a highly charged dialogue between the horns, bringing to a close what may well be the best of Eastwood’s albums to date.

WDR Big Band feat. Maceo Parker live at Leverkusener Jazztage 2011

Maceo Parker - alto saxophone, vocals
Christian McBride - bass
Cora Coleman-Dunham - drums
Michael Abene - Leitung und Arrangement
Johan Hörlén, Karolina Strassmayer, as
Olivier Peters, Paul Heller, ts
Jens Neufang, bs
Wim Both, Rob Bruynen, Andy Haderer, Klaus Osterloh, John Marshall, tp
Ludwig Nuss, Marshall Gilkes, Christophe Schweitzer, tb
Mattis Cederberg, b-tb
Frank Chastenier, p, keys
Paul Shigihara, g

recorded live at Forum, Leverkusen, November 2011

1. Come On , Maceo
2. Inner City Blues (Marvin Gaye)
Soloists: Maceo Parker, as; John Marshall, tp
3. Kissing My Love (Bill Withers)
Soloists: Paul Shigihara, g; Maceo Parker, as
4. Higher Ground (Stevie Wonder)
Soloists: Maceo Parker, as; Marshall Gilkes, tb
5. Do Your Thing (Isaac Hayes)
Soloists: Paul Shigihara, g; Maceo Parker, as
6. Rock Steady (Kenneth Edmonds, Bo Watson, Antonio Reid, Dwayne Ladd)
Soloists: Maceo Parker, as; Frank Chastenier, org
7. One In A Million (Larry Graham)
Soloists: Maceo Parker, as
8. I Wish (Stevie Wonder)
Soloists: Maceo Parker, as; Cora Coleman-Dunham, dr
9. Papa´s Got A Brand New Bag
Soloists: Paul Heller, ts; Maceo Parker, as
10. Come By And See (Maceo Parker)
Soloists: Karolina Strassmayer, as
11. Soul Power (James Brown)

On Roots and Grooves, legendary James Brown sideman Maceo Parker delivers a double-disc album that focuses on the saxman's musical origins and most famous compositions. Side B is a funkier affair saluting Parker's time with Brown, George Clinton, and Bootsy Collins, with rearrangements of his originals including "Off the Hook," "Uptown Up," and "Pass the Peas." But it's his affectionate eight-song tribute to Charles augmented by the world-renowned WDR Big Band that brings to mind the late singer's award-winning big-band performances. Hammond B3 organist Frank Chastenier leads the charge for a stunning instrumental take on "Hallelujah I Love Her So," while Parker proves all too capable of handling Charles' trademark vocals on "You Don't Know Me" and "Hit the Road, Jack." While his take on "Georgia on My Mind" comes off like Muzak, Parker delivers a dynamite "What'd I Say" that would've made Brother Ray proud.

Four years after the concerts recorded for Roots and Grooves, Maceo and WDR Big Band rejoined for a soul party at the Leverkusen Forum.

Tingvall Trio live at 32nd Leverkusener Jazztage 2011

Martin Tingvall · piano
Omar Rodriguez Calvo · bass
Jürgen Spiegel · drums
recorded live at Forum, Leverkusen, November 6, 2011

1. Vägen
2. Hajskraj
3. Snarestad Folksvisa
4. Tuc-Tuc Man
5. Efter Livet

Tingvall Trio create melodies so beautiful that they would be hard to trust if they weren’t so disarmingly authentic. They alternate with eruptive flashes of energy in which Jazz and Rock are cheerily blended. The music suggests images almost instantaneously, whether it’s Scandinavian landscapes shrouded in fog, waves crashing in the surf or lifelike character studies.
Their latest CD "Vägen" was released in 2011 on skip records.

Rebekka Bakken live at enjoy jazz, Mannheim 2011

Rebekka Bakken: voc
Börge Petersen-Överleir: g
Rune Arnesen: dr
Lars Danielsson: b
Mathias Leber: p
recorded live at Alte Feuerwache, Mannheim, November 12, 2011

1. Same Kind
2. Never Been To Paris
3. September
4. Powder Room Collapse
5. Forever Young/ Jed Vet En Hvile
6. Any Pretty Girl
7. Hard To Be A Loser
8. After All
9. Girl Next Door
10. No Easy Way
11. Der Schnee draussen schmilzt
12. Driving

If it was up to Rebekka Bakken, people would not talk about her music, but rather just listen to it. The singer-songwriter with the deeply touching three-octave range is an “Anti Drama Queen” – a restless soul and at rest within herself at the same time. Constantly pondering and appeasing, she does not like to have people make a fuss about herself or her art. “I need the music more than it needs me”, she says accordingly. “I like to put everything to life in my music. It’s no big deal.” Hearing is feeling is living, when it comes to this emotional artist. But maybe it is also because her songs are so poetic and meaningful and her melodies speak so clearly and beautifully, that the curiosity to find out what is behind them is so enormous. With her fifth album the Norwegian singer, who was living in New York and Vienna for a long time and now makes her home on a horse-farm in Sweden, continues her “American series”. Produced in close collaboration with Malcolm Burn in Kingston, New York, the twelve self-confident and straightforward songs of “September” present themselves as one of the most beautiful, Country-influenced song-albums of our time. Brilliantly sung, sensually and lusciously played, these songs about love, life, lust and misery – the oldest topics in the world – always seem up to date. Their sound already is so unique and original, that even the three cover-versions of songs by Bruce Springsteen, Jane Siberry, and Alphaville, fit perfectly with Bakken’s own new compositions. This music touches, on many levels. “Communication”, as Rebakka Bakken says, “is so much more than words.”

Eumir Deodato & Band live at 32nd Leverkusener Jazztage 2011

Eumir Deodato – keys
Daniele Gregolin – g
Piero Orsini - b
Marco Maggiore – dr
Giorgio Palombino – perc

recorded live at Forum, Leverkusen, November 6, 2011

1. Skyscrapers
2. Rhapsody in Blue
3. Super Strut
4. Also sprach Zarathustra
5. Do It Again

Widely regarded as one of the most respected and sought-after musicians in the music world, Brazilian-born Eumir Deodato has racked up 16 platinum records to his credit as artist, arranger or producer with combined sales of well over 25 million records in the USA alone. His discography, including compilations and all his work as arranger, producer and keyboardist, surpasses 450 albums. He has also had the honor of performing with the St. Louis Symphony (which backed him on his superb Artistry album), the Cincinnati Symphony, the New York Philharmonic and the Orchestra di Musica Leggera dell'Unione Musicisti di Roma. In addition, several artists over the years have covered his songs, including George Benson, Lee Ritenour, Sarah Vaughan and The Emotions to mention just a few. And yet, in spite of all of his varied triumphs, honors and distinctions over the years, the multi-talented, multi-instrumentalist will probably forever be associated with one song - his innovative rendition of Richard Strauss' classical opus Also Sprach Zarathustra (or more commonly known as the theme to 2001: A Space Odyssey).
That single compelling song, which first appeared on his 1973 debut album for CTI Prelude, sold at least five million copies and earned Deodato his first Grammy Award, instantly moved him to international stardom and setting a course for his remarkable ongoing career in music. Thirty years later, that same tune has found its way into the repertoire of the jam band Phish, a testament to Deodato's enduring influence.

ACT Jubilee Night live at Muffathalle, München February 2012

Céline Bonacina (baritone sax)
Nils Landgren (tb, voc)
Lars Danielsson (b, vc)
Verneri Pohjola (tp)
Michael Wollny (p, el-p)
Leszek Możdżer (p, el-p)
Nguyên Lê (g)
Wolfgang Haffner (dr)
recorded live at Muffathalle, München, February 3, 2012

1. Dodge the Dodo (Esbjörn Svensson)
2. Pasodoble (Lars Danielsson) Lars Danielsson & Leszek Możdżer
3. Sleep safe and warm (Krzysztof Komeda) Leszek Możdżer
4. Svantetic (Krzysztof Komeda) Michael Wollny & Leszek Możdżer
5. Stars in your eyes (Herbie Hancock) Nils Landgren, Michael Wollny, Lars Danielsson, Wolfgang Haffner
6. Lonely Dancer (Michael Wollny) Céline Bonacina, Michael Wollny, Lars Danielsson
7. Zig Zag Blues (Céline Bonacina)
8. Silent Way (Wolfgang Haffner) 

Whoever thought jazz is a marginal branch of music meant for small cellar pubs was disabused at the ACT jubilee concerts during the first week of February 2012. In celebration of the 20th anniversary of the Munich label, jazz visited the impressive concert halls in Germany. Around 4.500 people followed its call and experienced during the four concert nights how the spotlight was turned on jazz. ACT all-star ensemble consisting of nine musicians thrilled the audience at the Philharmonie in Berlin (KMS), Muffathalle in Munich, Tonhalle in Düsseldorf and Laeiszhalle in Hamburg in a performance that according to the German magazine BUNTE was “a world class session with the very best of jazz”. The newspaper DIE WELT was greatly impressed after the final concert in Hamburg on the 5th February and spoke of “a magnificent programme and a storm of applause”. Fortunately, the NDR had decided beforehand to record the concert. Therefore, the ACT family celebration on stage will be available on a double CD which is released on the 27th April for a special price (2 CDs for the price of one).
Siggi Loch’s journey has followed a trajectory all of its own. After stumbling across the music of Sidney Bechet at the age of 15, he formed a band and began dreaming of running his own jazz label. Half a century ago he was among the R&B fans getting a first taste of The Beatles at the Star Club in Hamburg. Soon afterwards he produced some of the first tracks by the pop group The Searchers as he embarked on a career as a talent-spotter, producer and major label executive.
It is, of course, his own jazz company, ACT, which has become his primary passion – along with his ever-expanding collection of contemporary art, examples of which adorn many of the album sleeves. If much of the jazz world now resembles a sterile, hermetically sealed museum, Loch clings to the quixotic notion that the music has to surprise, to stir – and sometimes to shock.
Never shy of speaking his mind, he worries that too many of today’s compositions sound “constructed not composed”. The past is important, but why be enslaved by it? “Musicians have to work their audience,” he told me. “Just like in rock and roll. They’re not living in an ivory tower.” Does that mean a pursuit of the lowest common denominator, Kenny G with a Bavarian accent? Not at all, as ACT’s 20th anniversary tour demonstrated. While there may have been Arctic conditions on the streets outside the venues on the Jubilee Concert tour, musical director Nils Landgren set about creating a piping-hot summation of the label’s history, performed by the members of the ACT Family Band.
Polish pianist Leszek Możdżer indulged in playful duels with his German counterpart Michael Wollny. Pensive French-Vietnamese guitarist Nguyên Lê channelled the spirit of Jimi Hendrix with a little help from Denmark’s Cæcilie Norby. Finnish trumpeter Verneri Pohjola added will o’ the wisp cameos elsewhere, while the diminutive French player Céline Bonacina – almost dwarfed by her baritone sax -- unleashed one fiery solo after another. The musician who remains the symbol of ACT’s act was, of course missing. But Esbjörn Svensson – who died in a scuba-diving accident four years ago – was remembered as the cast gathered for a moving finale. Here’s to the next twenty years.

Rolf Kühn & TRI-O feat. Joachim Kühn live at JazzBaltica 2011

Rolf Kühn - Clarinet
Joachim Kühn - Piano
Ronny Graupe - Guitar, Electronics
Johannes Fink - Bass
Christian Lillinger - Drums
Jazzbaltica Salzau, July 3, 2011

1. Mamarazzi (Rolf Kühn)
2. Lifeline (Rolf Kühn)
3. Auf Tauris (Ronny Graupe)
4. Changing The Umbrella (Joachim Kühn)
5. Spacerunner (Rolf Kühn)

Blättert man in der von Maxi Sickert vorgelegten und im Rahmenprogramm von Enjoy Jazz 2009 auch vorgestellten Kühn-Biografie „Clarinet Bird“, dann staunt man nicht schlecht, hat dieser Musiker doch eine – zumal für deutsche Verhältnisse – ganz exzeptionelle internationale Karriere hingelegt. Entdeckt wurde der in Köln geborene Rolf Kühn Ende der 1940er Jahre in Leipzig, ging dann erst in den Westen und bereits 1956 in die USA, wo er mit Oscar Pettiford, im Benny Goodman Orchestra, aber auch mit Ornette Coleman spielte. Es folgten Free Jazz- und Fusion-Experimente, Filmmusiken, Engagements beim NDR und als Musicaldirigent und immer wieder Aufnahmen mit seinem viel jüngeren Bruder Joachim. Dass Rolf Kühn am 29. September 2009 seinen 80. Geburtstag feierte, wird zudem kaum glauben können, wer die sehr dynamische, swingende, melodiöse und auch ins Freie drängende Musik hört, die der Klarinettist an der Seite ganz junger Musiker der Berliner Szene wie Christian Lillinger, Ronny Graupe, Johannes Fink spielt. Die kristalline Klarheit seines Tones auf dem gemeinsam eingespielten und beim Berliner Jazzwerkstatt-Label erschienenen Album „Close Up“ zeugt von ungebrochener Abenteuerlust und zeigt keinerlei Berührungsängste gegenüber jugendlichem Sturm und Drang.

Minton's Playhouse Allstars live at Berliner Jazztage 1971

Art Blakey: Drums
Al McKibbon: Bass
Thelonious Monk: Piano
Sonny Stitt: Alto Saxophone
Kai Winding: Trombone
Dizzy Gillespie: Trumpet
Berlin, Philharmonie, November 4, 1971

1. Blue `n` Boogie (Dizzy Gillespie)
2. `Round midnight (Thelonious Monk)
3. Lover Man (Roger "Ram" Ramirez)
4. Tin Tin Deo (Dizzy Gillespie)
5. Tour de force (Dizzy Gillespie)
6. A Night In Tunesia (Dizzy Gillespie)

"When George Wein managed to assemble this musical "dream team" in 1972, it received little publicity. After all, Jazz at the Philharmonic was long gone and Wein's Newport Jazz Festival had practically been brought to a halt by destructive young vandals at its original site in Rhode Island. The American public's ears were increasingly attuned to, on the one hand, rock, and, for those a bit older, country and western music. And the few remaining jazz fans were following Miles and "Bitches Brew" into fusion territory. As a result, the bona fide giants of the music, the masters who had been responsible for the bebop revolution of the late '40s, were struggling for audiences and recording contracts. Even Art Blakey's Jazz Messengers ("No fusion for us," Art said. "Jazz is acoustic, and traditional or modern, we're all about mainstream swing.") As a result, all of Art's '70s recordings were made outside the U.S. and few of them were digitalized and released on disc.
To his credit, Wein sensed an opportunity to pry these American masters away from their respective groups and individual commitments and, for at least two years, had them touring before ecstatic, receptive audiences throughout the world (with the exception of their native U.S.). 

So these are giants in a land of giants--before they became extinct. The entire concert is a joy from start to finish, almost a painful reminder of the beauty we once took for granted."

Thelonious Monk live at Berliner Jazztage 1969

Thelonious Monk, piano
Berliner Jazztage November 6, 1969, Philharmonie, Berlin

1. Satin Doll (Duke Ellington; Billy Strayhorn)
2. Sophisticated Lady (Duke Ellington)
3. Caravan (Duke Ellington; Juan Tizol)

Monk primarily played his own compositions with his quartet, but occasionally performed covers, too. Especially the music of the great Duke Ellington had a special impact on Monk. In 1955 his album "Thelonious Monk Plays Duke Ellington" was released as his debut for Riverside. The choice of Ellington as the 'theme' composer was evidently made by producer Orrin Keepnews and the Riverside label, but it was nevertheless significant. Ellington was (and is) arguably the most important American jazz composer of his generation and with Louis Armstrong and Count Basie, he had been one of the most popular and successful performers and recording artists of the Thirties and Forties.

And the show goes on...

Well, some of you, especially ‪Descris‬, ‪jakdolesa‬, ‪12tone4ever‬, ‪giù‬ and Slidewell did a really great job in reposting some of the concerts and I´m really grateful for this, you´re really great! I appreciate your support and I want to encourage you to go on.
Like I said before, I won´t do the re-ups, but there´s some more new stuff to come, so, stay tuned!

Cæcilie Norby Group live at JazzFest Berlin 2011

Cæcilie Norby vocals
Katrine Gislinge piano
Lars Danielsson bass
Per Gade guitar
Morten Lund drums
Nils Landgren trombone, vocals

recorded live at Haus der Berliner Festspiele, Main Stage, November 4, 2011

1. Both sides now (Joan R. Mitchell)
2. Dead Princess (Maurice Joseph Ravel)
3. Wholly Earth (Abbey Lincoln)
4. The Tears of Billie Blue (Claude Achille Debussy)
5. Scheherazade (Nikolai Rimski-Korsakow)
6. Bei mir bist du scheen (Sholom Sholem Sucunda)
7. Cuban Cigars (Lars Olof Danielsson)
8. No Air (Eric Satie)

Danish singer Cæcilie Norby was born into a musical home. Her mother, an opera singer, and her father, a composer, supported her musical education from an early age. Jazz was not her first love, though. After a classical education she turned to pop music in the early eighties and had some considerable success with the band OneTwo.
Ten years later the renowned Blue Note label released her self titled jazz debut, starring none other than Chick Corea. For later productions she cooperated with the likes of the Brecker Brothers, Terri Lyne Carrington, Nils Landgren or Palle Mikkelborg.
Her latest cd, Arabesque, shows yet another of her facets, reminiscent of composers like Satie, Debussy, Ravel and Fauré. Together with her recent ensemble, the IFPI (International Federation of the Phonographic Industry)-awardee will once again leave the boundaries of classical music, jazz or pop behind.

Richard Galliano La Strada Quintet live at JazzFest Berlin 2011

Richard Galliano accordion, trombone, arrangements
John Surman soprano sax & alto clarinet
Dave Douglas trumpet
Boris Kozlov bass
Clarence Penn drums

recorded live at Haus der Berliner Festspiele, Main Stage, November 4, 2011

1. The Godfather Waltz (Nino Rota)
2. La Strada (Nino Rota)
3. I Vitelloni (Nino Rota)
4. I Tre Suonatori/ La Processione (Nino Rota)
5. Huit et demi / La Passerella D'Addio (Nino Rota)
6. Solitudine Di Gelsomina / Il Circo Giraffa (Nino Rota)
7. Il Matto Sul Filo (Nino Rota)
8. The Godfather: Love Theme (Nino Rota)
9. Gelsomina (Nino Rota)
10. I Notti Di Cabiria (Nino Rota)
11. Zampano e la vedova (Nino Rota)
12. Nino (Nino Rota)

The French accordion-virtuoso Richard Galliano is an exceptionally versatile musician, able to make his mark in all kinds of musical contexts, from solo appearances to playing with a full big band.
Quite early in his career, his friend and ‘Tango Nuevo’ creator Astor Piazzolla had advised him to stay true to his roots and establish a kind of ‘New Musette’. Galliano’s exceptional abilities as a soloist are now well-recognized, and he continues to explore a vast range of music, without ever losing that lyrical quality that infuses the ballads on Love Day that he recorded with Gonzalo Rubalcaba, Charlie Haden and Mino Cinelu, or the French Touch which allowed him to make the link between Billie Holiday and Edith Piaf, with the trumpeter Wynton Marsalis.
For La Strada Galliano has gathered a squad of leading-edge transatlantic jazz musicians. His latest project is an homage to the great film composer Nino Rota (1911–1979) who, a.o., composed the music for all of Fellini’s movies and whose score for Coppolas’s Godfather remains unforgotten.

BuJazzO & Maria Baptist ‘City Grooves’ live at JazzFest Berlin 2011

Maria Baptist leader
Mathis Petermann, Johannes Roosen-Runge, Christian Mehler trumpet
Lukas Jochner, Janning Trumann, Lisa Stick trombone
Julianne Gralle bass trombone
Katarina Brien, Florian Walter alto sax
Markus Pötschke, Adrian Hanack tenor sax
Paul Muhle bass sax
Charlotte Ortmann, Friederike Motzkau flute
Rebecca Trescher clarinet
Lukas Brenner piano
Clemens Oerding guitar
Reza Askari-Motlagh bass
Julian Külpmann drums

recorded live at Haus der Berliner Festspiele, Main Stage, November 2, 2011

1. Minotaurus
2. Rush hour
3. Lingering
4. Avenue walk
5. On top of the mountain
6. The blossom
7. Avus

The BuJazzO, Germany’s Youth Jazz Orchestra, sponsors qualified and talented young jazz musicians in Germany. The current concert repertoire is rehearsed with changing line-ups in working modules that take the form of an intensive musical training in a professional master course atmosphere. The artistic directorship of rehearsals and stage work alternates and is performed by renowned artists. The working modules are followed by guest performances at home and abroad, where the results are presented to an international audience.
To encourage high qualified young female musicians BuJazzO has put a focus on women as conductors and instructors, starting with pianist Maria Baptist, composer/arranger and professor at the Berlin Music Conservatory ‘Hanns Eisler’. She has been conducting the 47th working phase of BuJazzO in March 2011.
Maria Baptist is fascinated by big cities. Together with BuJazzO she presents the programme City Grooves. It reflects the different moods and the mutability of a big city. Powerful energetic music alternates with concertante moments.
“Her music is a gift, infused with all the creativity, power, emotion, generosity and warmth that she exudes in life” (Maria Schneider)

Gregory Porter live at JazzFest Berlin 2011

Gregory Porter vocals
Chip Crawford piano
Aaron James bass
Andrew Atkinson drums

recorded live at Haus der Berliner Festspiele, Main Stage, November 5, 2011

Water (Gregory Porter)
Way to Harlem (Gregory Porter)
Black Nile (Gregory Porter)
Skylaark
Be Good
1960 What? (Gregory Porter)

A regular guest with the Lincoln Center Jazz Orchestra, up-and-coming vocalist Gregory Porter has staked his clame to fame in the jazz world already. His highly versatile singing draws from the likes of Nat King Cole, Donny Hathaway, Joe Williams , Stevie Wonder or Kurt Elling. Not only does he manage to jump any hurdles between blues, jazz and soul effortlessly, the Grammy nominee also unites the great American traditions of crooning and topical songs with a voice that can caress or confront, embrace or exhort.

Subsequently, his 2010 debut album Water passed the American critics with distinction, and Jamie Cullum stated excitedly on BBC Radio 2: “Finally! Another jazz singer with chops and soul to sit alongside the mighty Kurt Elling. I am so excited about this artist. Originals, offbeat covers, a superb band and a voice both elastic and soulful.This record is effortless and bursting with class.”

Lisbeth Quartett live at JazzFest Berlin 2011

Charlotte Greve sax
Manuel Schmiedel piano
Marc Muellbauer bass
Moritz Baumgärtner drums

recorded live at A-Trane, Berlin, November 3, 2011

1. Trust (Charlotte Greve)
2. Quiet Rush (Charlotte Greve)
3. Constant Travellers (Charlotte Greve)
4. The Tree (Charlotte Greve)
5. Ballade (Charlotte Greve)
6. False (Charlotte Greve)

The band members come from diverse backgrounds which they manage to harmonize most elegantly; Founder and saxophonist Charlotte Greve has a distinct talent for evoking balladesque moods, with beautiful melodic lines and precisely chiselled details. Besides her own compositions plus a few jazz standards, some pieces penned by pianist Manuel Schmiedel round up the repertoire. Bassist Marc Muellbauer throws in a kaleidoscope of moods and drummer Moritz Baumgärtner is an adventurous commuter between jazz, alternative rock and electronica.

“Charlotte is a great young player. She possesses a lot of ability and passion at a very young age. Beautiful sound and intonation. Her ballad playing especially is wise way beyond her years. Nice writing with a balance of standards sprinkled in. A very good first recording. A career I'll be following closely.”  (David Binney)

Michael Wollny’s [em] live at JazzFest Berlin 2011

Michael Wollny piano
Eva Kruse bass
Eric Schaefer drums
recorded live at Haus der Berliner Festspiele, Main Stage, November 4, 2011

1. Wasted and wanted (Michael Wollny)
2. Blank (Eric Schäfer)
3. Metall (Eva Kruse-Liljeqvist)
4. Kulingtang (Eric Schaefer)
5. Cembalo Manifest (Eric Schaefer)
6. Dance of the Vampires (Krzysztof Komeda)
7. Nr. 10 (Eva Kruse-Liljeqvist)
8. Whiteout (Michael Wollny)
9. Gorilla Biscuits (Eric Schaefer)
10. Phlegma Phighter (Eric Schaefer )

“Young enough, not to have to lug around the ballast of the jazz tradition, and perceptive enough to discover something new every day” (K.Heidkamp/Die Zeit). Since quite a few years now Michael Wollny and [em] have been ranking among the internationally most successful jazz combos from Berlin. The trio is comprised of three personalities who correlate with each other like the corners of an isosceles triangle. Coming from totally different positions, they throw their individual styles and approaches in the mix and team up to consummate form. Their often narrative, abstract songs are inspired by such diverse sources as movies, books, paintings, cartoons, philosophical essays, everyday life or –sometimes– music.
For their new album, [em] have added harpsichord, music boxes and other sound paraphernalia to their so far rather conventional pool of instruments. Inspired by Krzysztof Komeda’s score for Polanski’s Dance of the Vampires the band will –in addition to genuine compositions– present pieces from Komeda soundtracks.

The Show Must Go On??

First I want to thank you all for your encouraging comments and your support. Many of you asked, what will happen after megaupload is down. Well, I think we should ask the FBI to shut down Microsoft, Apple and Google, since products of these companies were used for committing copyright infringement, too...
In the meantime, I want to tell you, what 12tone4ever said...
"My suggestion: everyone who downloaded sth from this site should re-upload it to a filehoster. and post the link in the comments respectively. What do you think that about?"

I think, that´s really a great idea, since I have neither time nor money to repost 500+ concerts.
Maybe I will continue this blog in the future sometime, I actually just don´t know...

Christian Muthspiel Yodel Group live at Jazzclub Unterfahrt Munich 2011

Christian Muthspiel - Trombone, Piano, Electronics
Gerald Preinfalk - Saxophones, Clarinet, Bass Clarinet
Matthieu Michel - Trumpet, Flügelhorn
Franck Tortiller - Vibraphone
Robert Riegler - E-Bass
Bobby Previte - Drums

recorded live at Jazzclub Unterfahrt München, November 8, 2011

1. Der Zirbitzkogler
2. Auf der Strah/ Der Schöffauer Luila
3. Der Lahnjodler/ Der Hirschauer/ Der Roller
4. Der Königsberger
5. Der Kollerschläger/ Ein schöner Verkehrter
6. Der Präbichler/ Der Langenwanger
7. Der Scheibm Dudler

"huljo": A second CD by the Yodel Group follows their recent first CD "may" (MRE 031-2). The Yodel Group was originally formed two years ago as a commissioned project for the 30th Saalfelden Jazz Festival. Since then, it has taken on life in the long-term as a band making regular tours. By virtue of these live performances it has evolved musically to such an extent that I thought the logical next step would be for me to compose a whole new program for the Yodel Group.
"On the one hand, I wanted to work more with the possibilities offered by this unique ensemble, which by now has been "road-tested" and which has developed a unity through its live performances. I wanted to write a set of new pieces that are tailor-made for this group, and that are musically enriched by their experience of playing together. On the other hand, there were still a good number of yodels that I couldn't include in my compositions for "may" and which have been waiting since then to be translated from the age-old folk music idiom into the language of jazz. Also, the reaction of the public and media to the first program encouraged me to write a second program for us to record and perform live in upcoming tours.
Seemingly simple yet highly refined, alpine yodeling is an archaic form of singing or calling - of Jauchzen and Juchzen, concepts unique to this Alpine region, which can roughly be translated as a joyful kind of shouting.  Since my earliest days, it was a central part of my musical upbringing and naturally ran as a recurrent theme in the soundtrack of my childhood. My father collected yodels and preserved them by recording them and writing them down. We yodelled in the mountains with family and friends.
In the course of my explorations into the yodelling traditions of the Austrian alpine region, I became aware of fundamental parallels between yodelling and blues and jazz. It is easier to translate the one into the other than you might think, in both the formal as in the melodic- harmonic context. So it quickly became clear that jazz musicians coming from places that had nothing alpine about them - namely New York and Paris - could also work with this material, naturally and organically, and use it as the basis for new improvisation.
It is my intention to take this traditional folk music form, that I have known well since my earliest childhood, and to stretch it in all conceivable directions; to translate it, to give it new musical arenas - in this case jazz - while conserving the original yodelling as the unmistakable source and driving force.  Far from being a mere polemic or deconstructive exercise in making "Alpine Blues", this is a creative way to give new life to old material, to use it as the basis for new interpretation, for new music." - Christian Muthspiel, translation by Karin Kaminker

jazz big band graz: ‘Urban Folktales … And A Rose!’ live at Jazzfest Berlin 2010

Horst-Michael Schaffer, vocals, trumpet, conductor
Heinrich von Kalnein, saxophones, flute, conductor
Christoph ‘Pepe’ Auer, saxophones, clarinet, bass clarinet
Johannes Enders, saxophones, flute
Martin Harms, saxophones, bass clarinet
Bernhard Nolf, Axel Mayer, David Jarh, trumpet, flugelhorn
Johannes Herrlich, Robert Bachner, trombone
Wolfgang Tischhart, bass trombone
Uli Rennert, keyboards, lapsteel guitar
Matthias Loibner, electric hurdy-gurdy
Christof Dienz, e-zither, bassoon
Henning Sieverts, bass, cello
Gregor Hilbe, drums, programming
Barbara Buchholz, theremin
OchoReSotto, visuals

recorded live at Haus der Berliner Festspiele, Main Stage, November 4, 2010

1. Band Introduction
2. Urban Tribes - Introduction
3. Seelenbaumeln
4. Spacetrip (or the day we landed)
5. Reve africain
6. High voltage

Among European jazz orchestras the Jazz Bigband Graz has earned an exceptionally good reputation. The international cohort of soloists performs on a superior level. The two artistic directors Heinrich von Kalnein and Horst-Michael Schaffer have managed to mould this heterogeneous flock of individualists into a homogeneous team with a genuine musical language.

The notion of a “Big Band” almost seems too conventional for the reckless musical adventures of this group from Styria since with each new project they further depart from their normal frame work of large jazz ensembles. In 2008, the JBBG celebrated triumphs with their progressive programme Electric Poetry & Lo-Fi Cookies. This year’s edition of JazzFest Berlin stages their latest extravaganza, Urban Folktales … And A Rose!
The poetry of the newly refurbished orchestra –extended by electric zither, amplified wheel fiddle/hurdy-gurdy and a theremin, plus visual projections by artist group OchoReSotto – revolves around one of the most elementary of all human issues – love.

Orchestre National de Jazz & John Hollenbeck: Shut Up And Dance live at London Jazz Festival 2010

Orchestre National de Jazz
Daniel Yvinec: conductor
Eve Risser: piano, flutes, sound objects
Vincent Lafont: keyboards, electronics
Antonin-Tri Huong: alto sax, clarinets, piano
Matthieu Metzger: alto, soprano and sopranino sax, electronic treatments
Joce Mieniel: flutes, electronics
Rémi Dumoulin: saxophones, clarinets
Guillaume Poncelet: trumpet
Pierre Perchaud: guitars, banjo
Sylvain Daniel: e-bass, french horn, electronic effects
John Hollenbeck: drums

Purcell Room, November 2010

1. Failing Men
Soloist: Guillaume Poncelet, trumpet
2. Life Still
Soloist: Sylvain Daniel, e-bass
3. Flying Dreams
Soloist: Pierre Perchaud guitars
4. Tongs of Joy
Soloist: Vincent Lafont, keyboards
5. Praya Dance
Soloist: Joce Mieniel, flutes
6. Bob Walk
Soloist: Matthieu Metzger, alto & soprano saxophones
7. The Power Of Water

Produced in a creative sphere covering New York, Paris, Berlin and Saint-Rémy-de-Provence, Shut Up And Dance emphasizes the relation between music and movement.
The spotlight turns to rhythm in all aspects of expression, at times even where least expected: a ping pong ball bouncing across piano wire, miscellaneous objects mistreated by computer software, instrument keys, hands rubbing, PVC tubes morphing into melodies… Percussion is everywhere, a bona fide sequence of powerful melodic passages that blend the shades of a repeating musical sound, pygmy music, art music, electronic music, not to overlook a Gnawas' trance or a Duke Ellington swing.
John Hollenbeck's compositions, inspired specially for this program, stem from an extensive collaboration with Daniel Yvinec and reveal the excitement and body of classical works, in a series of ten mini-concertos, each one dedicated to a different orchestra musician tailored to their unique personality and language.
Turning the notion of instrumental function on its head without a moment's hesitation, the wind instruments drive the beat, while the prepared piano moves onto the percussion side of the orchestra… It's all about the idea of movement, conveyed in these mesmerizing rhythms, always and forever crisscrossing so as to ease our separation from self.

Cannonball Adderley Group live at Berliner Jazztage 1972

Julian "Cannonball" Adderley (as, ss)
Nat Adderley (co)
George Duke (p, elp)
Walter Booker (b)
Roy McCurdy (dr)

recorded live at Philharmonie Berlin, November 2, 1972

1. Hummin' (Nat Adderley; Eugene McDaniels)
2. Doctor Honoris Causa (Josef "Joe" Zawinul)
3. Yesterdays (Jerome Kern)
4. Walk tall (Josef "Joe" Zawinul)
5. Mercy, mercy, mercy (Josef "Joe" Zawinul)
6. The Theme

Still immersed in the burgeoning electronic jazz-rock explosion of the times, Cannonball Adderley goes further toward a rapprochement with the rock and soul audiences than ever before .
"Now I don't give a damn whether you can count or not, we still are the Cannonball Adderley Quintet!," quoth the leader, who is in loose, loquacious form throughout the set (the jazz world badly misses his witty verbal intros). With Joe Zawinul now flying off to Weather Report, his replacement is an even more electronically minded pianist, George Duke, who levitates into the outer limits with his Echoplex and ring modulator and proves to be a solid comper. But Zawinul is not forgotten, for the band pursues a long, probing, atmospheric excursion on his tune, "Dr. Honouris Causa."
Brother Nat Adderley gamely visits the outside on cornet, not always convincingly, while Cannonball doubles with increasing adventurousness on soprano and alto and bassist Walter Booker and drummer Roy McCurdy deftly handle all of the changes of style. Cannonball adeptly keeps pace with Miles Davis, his former boss while not abandoning his funky soul-jazz base nor the special audience-friendly ambience of his concerts. 

Trombone Shorty & Orleans Avenue live at 42nd International Jazzweek Burghausen 2011

Troy Andrews (tb, tp, voc)
Tim McFatter (s)
Pete Murano (g)
Mike Ballard (b)
Joey Peebles (dr)

recorded live at Wackerhalle, Burghausen, March 25, 2011

1. Backatown
2. Suburbia
3. Orleans and Claiborne
4. On Your Way Down
5. Hurricane Season
6. Groove On/ Right To Complain
7. St. James Infarmery
8. On The Sunny Side Of The Street
9. I Know You Wanna Be/ James Brown Medley
10. One Night Only/ Something Beautiful
11. When The Saints

Since Hurricane Katrina demolished New Orleans' musical infrastructure, there has been a committed reconfiguration of the city's brass-band tradition courtesy of young players like those in the Rebirth and Soul Rebels bands, among whom Troy "Trombone Shorty" Andrews perhaps offers the greatest crossover potential on his most recent album "For True", released on Verve Forecast.

Shorty here offers an explosive blend of funk, blues and jazz right from the opening bars of the rumbustious "Buckjump", where Rebirth's ebullient horns ride an itchy fatback groove against 5th Ward Weebie's syncopated vocal expostulations. It also includes the first of Shorty's athletic trombone solos, whose slippery, rowdy character is set against the fierier contributions of guest guitarists such as Warren Haynes and Jeff Beck, the latter typically dazzling on "Do to Me".

Bastian Jütte Inside live at Studio II, Munich 2011

Till Martin (Saxophone)
Max Frankl (Guitar)
Christian Elsässer (Piano)
Andreas Kurz (Bass)
Bastian Jütte (Drums)
recorded live at Studio II, Bavarian Broadcast, Munich, October 26, 2011

1. Restless Mind (Bastian Jütte)
2. Freedom Song (Bastian Jütte)
3. Down to the ground (Bastian Jütte)
4. Indie Jazz (Bastian Jütte)
5. Inside (Bastian Jütte)
6. Trust (Bastian Jütte)

He is someone who creates highly sensitive notes with sticks, drums and cymbals. You may experience him in one of his many bands - the lean young man with the distinctive, nonhairy crown. And he is always a guarantor for subtlety. For fine rhythmic nuances - and always for drive and power: Bastian Jütte. In some concerts, he likes to take the electric guitar to play self-made indie rock. That's his other side and it also sounds good. Particularly because he knows how to write thrilling, catchy songs.
Why always one without the other? Here, you find both: the drummer and the rock-inspired songwriter. On "Inside", Bastian Jütte gathers nine of his own compositions that reflect a lot of the things he is into. "Jazz", "singer-songwriter", "indie rock" and "indie tronic" is what he mentions as influences for his own mixtures. Sometimes, the song titles point at the respective sounds - with nice puns such as "Indiefication" or "Decadance". Or: "Aaron Parks His Car" - as title of a homage to an influential young jazz piano player from the USA. The album contains hypnotic piano as well as trashily alienated drums, rocking guitar motifs that are interconnected with melancholic key-harmonies that tend to change rhythm or tempo all of a sudden; backwards running only to be soon resolved into audio tracks with edgy clarity, ironically-casual dissonants that sound like an instrumental wink; sublimely hammering bass ostinati and many pullingly beautiful melodies. It almost doesn't matter what is contained. Because you realize that it all fits nicely. It's made from a single source - and it captures you in its very own style. It has esprit and stylistic coherence.
You can certainly take these compositions apart but you can also just allow yourself to fall into them. Surrounded by experienced jazz partners such as saxophone player Till Martin, guitar player Max Frankl, piano player Christian Elsässer and bass player Andreas Kurz, Bastian Jütte manages to conjure moods that remind you of instrumental songs from time to time and of musical short films at other times. Amusing, laconic, unaffected films that render an image of our era, and which offer a personal statement in a very relaxed way. And they are touching as well - until the "Inside" of the drummer and creator will ideally also become the "inside" of the listener. Enjoy! - Roland Spiegel 

Yellowjackets live at 32nd Leverkusener Jazztage 2011

Bob Mintzer - Saxophones, Bass Clarinet, EWI
Russell Ferrante - Keyboards, Synthesizer
William Kennedy - Drums
Jimmy Haslip - Bass

recorded live at Forum, Leverkusen, November 8, 2011

1. Spirit of the West (Russell Ferrante)
2. Red Sea (Bob Mintzer)
3. Tenacity (Bob Mintzer)
4. Claire´s Song (Russell Ferrante)
5. Greenhouse (Russell Ferrante/ Jimmy Haslip)
6. Why Is It (Bob Mintzer)
7. Revelation (Russell Ferrante)

In music, time flies, styles unstoppably evolve, and bands come and go. But there are also rare stable, forward moving forces on the scene—one prime example in jazz being the Yellowjackets. As of 2011, this beloved eclectic, electro-acoustic jazz band that keyboardist Russell Ferrante and bassist Jimmy Haslip built celebrates the ripe, young but deep age of 30—a milestone commemorated with another powerful and heartfelt album, fittingly named Timeline.

Yellowjackets celebrate 30 years as one of the premiere jazz groups of our time with the release of "Timeline". William Kennedy is back in the drum chair after a 10 year hiatus, and "Timeline" features a guest appearance by Yellowjackets alumni, Robben Ford. Yellowjackets first recorded in 1980 with Robben on guitar.

George Duke Band live at 32nd Leverkusener Jazztage 2011

George Duke - Piano, Keyboards, Synthesizer, Vocals
Andrew Papastephanou - Keyboards
Jef Lee Johnson - Guitar
Mike Manson - Bass
Gordon Campbell - Drums

recorded live at Forum, Leverkusen, November 8, 2011

1. Bus Tours
2. You Touch My Brain
3. Cobra/ Backyard Ritual
4. A Fonk Tail/ Old Skool Medley
 5. Everyday Hero

"Aural nutrients for the mind, body and soul that when administered correctly can lead to mental, physical and spiritual healing and cause a tinglin in yo hip bone - uh, did I say somethin?" - George Duke.

Anything more to say?