Anderson-Bennink-Möbus-Glerum-van Kemenade live at Jazzfest Berlin 2010

Paul van Kemenade alto sax
Ray Anderson trombone
Frank Möbus guitar
Ernst Glerum bass
Han Bennink drums
recorded live at Jazzclub Quasimodo, November 6, 2010

1. Who is in charge? (Paul van Kemenade)
2. Petshop (Frank Möbus)
3. Silver Nichols (Ernst Glerum)
4. Close Enough (Paul van Kemenade)
5. As Yet
6. Tune for N (Paul van Kemanade; Ray Anderson)
7. Song for Che (Charlie Haden)
8. Funkalific (Ray Anderson)

Alto saxophonist Paul van Kemenade, a major contributor to Dutch Jazz since the early 80s, doesn’t give a damn about formats or conventions. For 25 years, he has been a free-thinker, suspending the divisions between classical music, pop and folklore with his regular quintet.
With Ray Anderson, Frank Möbus, Ernst Glerum und Han Bennink he renders these intentions into a global framework in which American and European influences, modern traditions and legacy avant-gardisms are bundled into a power pack. The expressive fire and the individualism of both his groups promise pure adrenaline.

Tempelektrisch live at Jazzclub Unterfahrt 2009

Photo ©by Ralph Horbascheck

Axel Schlosser (Trumpet/Flügelhorn)
Christian Weidner (Alto Saxophone)
Nils Wogram (Trombone)
Frank Möbus (Guitar)
Wolfgang Zwiauer (Bass)
Rainer Tempel (Fender Rhodes, Synthesizer)
Jim Black (Drums)

recorded live at Jazzclub Unterfahrt, Munich/ Germany, December 2009

1. "Lucy goes waltzing" (Rainer Tempel)
2. "The Striker" (Rainer Tempel)
3. "Selecâo" (Rainer Tempel)
4. "Trains" (Rainer Tempel)
5. "Pink" (Rainer Tempel)
6. "Elder Statesmen" (Rainer Tempel)

"I bought my first electric keyboard in 1986 and I still have it. Although it was one of the cheapest on the market I had to spend all the money I had on it. I just needed something that was loud enough to be heard in the rock band I was in at the time.
I took classical piano lessons as a kid and teenager and later studied jazz piano, but I also was influenced by the jazz rock music that was around me.
I prefer analogue instruments which are as old as myself. Their sounds, in the ears of today, hardly resemble any natural instrument but have become instruments in themselves. The Rhodes and The Wurlitzer Piano, as well as the Hohner Clavinet, cannot be played the same way a piano is played. In some situations, the Rhodes blends much better with wind instruments than the piano does.
So this album is called tempelektrisch, even though there are more natural instruments in the band than electric ones." (Rainer Tempel about tempelektrisch)