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.