Trilok Gurtu "Massical" live at Hamburger Jazztage 2009

photo © by Elio Guidi

Trilok Gurtu (dr, perc and voice) - India
Roland Cabezas (g) - Germany/Spain
Carlo Cantini (v, mel.) – Italy
Phil Drummy (sax, fl, didg.) – Australia
Johann Berby (b) - Le Reunion

recorded live at Fabrik, Hamburg, October 2, 2009

1. Monk-e-desh
2. Broken Rhythms
3. Kuruksetra
4. Bridges
5. Kalavati
6. Balatho

Trilok Gurtu has persistently added elements of various provenance to his musical cornucopia to develop a form of music that finds hierarchies superfluous and has reached its latest high water mark in the new CD entitled Massical. Gurtu turned the pages back and recalls that “I got a lot of flak for my first record because I was trying out something new. It's a lot easier just to imitate somebody else. I tried to forge a bond between my love for Africa and India, but somewhere along the line I had the feeling I was respecting the music too much. I have to remember to maintain my own self respect. Guess what? My music doesn't exist without me! So, I was a little bit more relaxed about my music and concentrated on what I heard myself. On Massical, I didn't think much about music; I just played.”
That's why the songs on Massical feel like acoustic balm. When you're listening, you forget everything you ever learned about music. You drop all your prejudices and surrender yourself to the flow that seems to drive out the gold of the millennia through the present into the future. Gurtu had to drop some ballast himself to be able to credibly transport that feeling. He is an incredible virtuoso who had a tendency to play too much. But virtuosity only plays second fiddle on Massical and just lets the musical process fall into place. Gurtu says "I'm not just showcasing myself. If the music doesn't call for virtuosity, I don't use it. But, let's not forget that there are pieces that are awfully difficult to play and most musicians would not be able to. That music is virtuoso, even though it sounds simplistic. When the musicians cut their first or second record, they usually put their instrument front and centre. But I want to feature my music. There's a difference there. The groove is much more important than virtuosity.“

Laia Genc & Liaison Tonique live in Cologne 2009

Laia Genc - Piano
Sebastian Gramss - Bass
Nils Tegen - Drums

recorded live at "Loft" Cologne/ Germany, December 9, 2009

1. On the run
2. Thirsty Camel
3. Strange encounter
4. Poles apart
5. Stop and Snooze
6. Fooob
7. Ort
8. Indeed
9. If I was to (Laia Genc)
10. Legenden (Genc Tegen Gramss)
11. Fanfare 10 (Sebastian Gramss)
12. Remember when (Laia Genc)
13. Legenden II (Laia Genc)

"Somehow I always wanted to play the piano since I was a little kid. It stood there so friendly in the corner at my grandma´s place! It has always been my good friend over the years...experiencing music hasn´t always been easy for me, but I had some great mentors who helped me find my way! I am proud to have been meeting, talking, working and playing with some brave musicians, not only the ones I mentioned, but a lot more that were and of course still are important influences to me. Working now as a freelance I studied jazzpiano with Hubert Nuß and Prof. John Taylor at the conservatory in Cologne where I graduated in 2006. I have been a member of some german youthbigbands, the one to mention is the BuJazzO led by Peter Herbolzheimer. In the years 2001, 2002 and 2003 I was invited with the quartet Nurse Or Nuc, then the Terrence Ngassa Band and finally with my own trio to the Nachwuchswettbewerb Leipzig, a competition for young players. In 2004 I won the 1st place of the international competition Biberacher Jazzpreis with my trio the "LiaisonTonique". With the Liaison Tonique I recorded my first cd "Trilogien" which appeared in 2005 on JazzHausMusik."
The latest album of LiaisonTonique is called "Polyfangastronosia"

Julia Hülsmann Trio live at Grüner Salon, Berlin 2009

Photo © by: Volker Beushausen / ACT

Julia Hülsmann, piano
Marc Muellbauer, bass
Heinrich Köbberling, drums

recorded live at Grüner Salon, Berlin, December 2, 2009

1. The end of a summer (Julia Hülsmann)
2. Konbanwa (Heinrich Köbberling)
3. Kiss from a rose (Seal)
4. Last one out (Marc Muellbauer)
5. Kauf dir einen bunten Luftballon (Aldo von Pinelli/Anton Franz Josef Profes)
6. Zahlen, bitte (jetzt reicht's) (Heinrich Köbberling)
7. Jackson (Marc Muellbauer)
8. Whole lotta love (Jimmy Page/ Robert Plant/ John Paul Jones/ John Bonham/ Willie Dixon)

The End Of A Summer - first ECM release for a trio with a strong following. Julia Hülsmann founded her group in 1997 and it has become, with its strongly melodic and inventive music, one of the most popular groups on the German jazz scene. Hülsmann is a first-rate jazz composer as well as an incisive pianist, a poetic sense of compression distinguishing both her writing and her improvising. Album features six new tunes by Hülsmann plus pieces also by her trio partners – plus a cover of Seal’s “Kiss From A Rose”.

Jim Mullen/ Helmut Nieberle Sextet: Nice work if you can get it - live at Jazzclub Leerer Beutel Regensburg/ Gemany 2009

Jim Mullen, Guitar (Left channel)
Helmut Nieberle, 7-string Guitar (Right channel)
Christoph Hörmann, Tenor Saxophone
Dana Darau, Vocals
Wolfgang Kriener, Bass
Michael Scotty Gottwald, Drums

live at Jazzclub Leerer Beutel Regensburg/ Gemany 2009

1. "Driving with the knee" (Bob Rückerl)
2. "Blues in a minute" (Bob Rückerl)
3. "Bewitched, bothered and bewildered" (Richard Rodgers/Lorenz Hart)
4. "I’m gonna lock my heart" (Jimmy Eaton/Terry Shand)
5. "Struttin’ with Jim" (Helmut Nieberle)
6. "Isfahan" (Billy Strayhorn/Duke Ellington)
7. "What a little moonlight can do" (Harry Woods)
8. "Don’t let me be lonely tonight" (James Taylor)

Interview with Jim Mullen about…
… his Bavarian buddies
… Bavaria & Scotland
… his guitar technique
… his sound

Jim Mullen is a truly original voice in contemporary jazz guitar. Originally from Glasgow he moved to London in 1969, going on to work in the groups of Pete Brown, Brian Auger, Vinegar Joe and Kokomo. In 1975 he met sax player Dick Morrissey, and they began a 15 year association working as the legendary funk band Morrisey Mullen. As sideman he is in demand by visiting U.S. stars like Gene Harris, Mose Allison, Jimmy Smith, Weldon Irvine, Percy Sledge, Teddy Edwards, Plas Johnson, Jimmy Witherspoon and Terry Collier. He is twice winner of 'Best Guitar' in the British Telecom jazz awards and 'Best Guitar' in the British Jazz Awards for 2000.
For 15 years he has been touring every year „with his bavarian buddies“. Driving force in this band was the late saxophonist Bob Rückerl, who passed away February 1, 2009 at the age of 52. So the 2009 tour was the "tribute to Bob Tour".

Curtis Fuller Brasstet live at Jazzfest Berlin 2009

Photo © by Detlev Schilke

Curtis Fuller · trombone
Don Sickler · trumpet
Jim Rotondi · trumpet
Sharp Radway · piano
Corcoran Holt · bass
McClenty Hunter · drums

recorded live at Georg-Neumann-Saal, Jazz Institute Berlin, November 7, 2009

1. The Clan (Curtis Fuller)

2. Minor's Holiday (Kenny Dorham)
3. The Court (Curtis Fuller)

The most recorded jazz trombonist of his lifetime, Curtis Fuller's illustrious career spans six decades and includes tenures with many of the greatest names in this music. Born Dec. 15th, 1934 in Detroit, Fuller was orphaned at an early age, but found family in the close-knit jazz community of the musically fertile Motor City. He first picked up the trombone in the school band at Cass Tech High School, where his fellow students included Donald Byrd and Paul Chambers and the list of graduates reads like a Who's Who of jazz.
He plays the slide trombone with astonishing virtuosity, boasting a huge, rounded tone and a punchy, lightning-quick attack that recalls the legendary J.J.Johnson. Fuller's prodigious technique led many jazz greats, such as John Coltrane, to enlist him as a sideman (he appeared on Trane's classic 1957 album Blue Train and many other Blue Note recordings) and got signed by Alfred Lion.
One of his recent recordings called "keep it simple" was released 2005 on Savant.

Tim Hagans & Norrbotten Big Band feat. Peter Eskine live at Northern German Radio 2009

Photo: Erik & Gunnar Westergren

Tim Hagans, trumpet, leader
Peter Erskine, drums
Norrbotten Big Band

recorded live at Rolf- Liebermann-Studio, Dezember 17&18, 2010

1. Buckeyes (Tim Hagans)
2. Boo (Tim Hagans)
3. Palt Seanuts (Tim Hagans)
4. Box of Cannoli (Tim Hagans)
5. Reason to Believe (Peter Erskine)

Norrbotten Big Band [NBB], from Luleå situated in the very north part of Sweden, is a modern big band with excessive visions and qualities. Artistic director, American trumpet player and arranger, Tim Hagans has ambitiously developed the established Swedish big band tradition to an international high level. The bands unique expression has left many permanent tracks in the world of jazz, on records, in radio telecasts and reviews in leading jazz magazines worldwide. Their latest recording featuring the music of Tim Hagans written especially for Norrbotten Big Band and special guests Randy Brecker, Peter Erskine, George Garzone, Dave Liebman and Rufus Reid called "The Avatar Sessions" was released in 2009 on Fuzzy Music.

Eliane Elias & Band live in Murnau 2009

Eliane Elias - piano,vocals
Marc Johnson - bass
Rubens de la Corte - guitar
Rafael Barata - drums

recorded live at Festival Grenzenlos, Kultur- und Tagungszentrum Murnau, October 25, 2009

1. "Chega de Saudade" (Antonio Carlos Jobim/Vinicius de Moraes)
2. "They can’t take that away from me" (George & Ira Gershwin)
3. "Por causa de vocè" (Antonio Carlos Jobim)
4. "So danco samba" (Antonio Carlos Jobim/Vinicius de Moraes)
5. "Tangerine" (Victor Schertzinger/Johnny Mercer)
6. Introductions by Eliane Elias
7. "The girl from Ipanema" (Antonio Carlos Jobim/Vinicius de Moraes)
8. "Fotografia" (Antonio Carlos Jobim)

In celebration of the silver anniversary Bossa Nova, Brazil-born, New York-based vocalist/pianist Eliane Elias lovingly pays tribute to the music of her homeland with "Bossa Nova Stories", a sublime 14-tune collection that captures the cool and alluring spirit of bossa nova, released on Blue Not records. Eliane’s singing, integrated with her piano, makes her a unique interpreter of melody and song. On Bossa Nova Stories, her vocal delivery is a marvel of rhythmic freedom, swinging beautifully and wonderfully integrated with the syncopations of her piano, or in counterpoint to the rhythm of the guitar. This is a true musician singing. Her voice, vocal phrasing, feel and interpretation place her at the top of this genre.

Lars Danielsson & Leszek Mozdzer: “Pasodoble“ live at Kronberg Academy Cello Festival 2009

Lars Danielsson, bass, cello
Leszek Mozdzer, piano

recorded live at Stadthalle Kronberg im Taunus, October 2, 2009

1. Praying (Danielsson)
2. Fellow (Danielsson)
3. Pasodoble (Danielsson)
4. Eja Mitt Hjärta (Swedish traditional)
5. Incognito (Mozdzer)
6. Easy Money (Mozdzer)
7. Prado (Danielsson)
8. Suffering (Danielsson)

Lars Danielsson is a musician of astonishing versatility. While he was studying classical cello at Gothenburg Conservatory he was listening mostly to rock: Jimi Hendrix, Cream and Santana. Then he happened to see an Oscar Peterson concert on TV with Danish bassist Nils-Henning Ørsted Pedersen This was the beginning of his conversion, from now on the bass was to take first place in his life. Pasodoble is an exciting duo album, with Leszek Mozdzer, an artist who is widely regarded as the most successful and versatile pianist of his home country Poland.
The two musicians share a lot of common ground. Their mutual admiration becomes very evident on this, their first duo album. Those who were expecting to hear the occasional standard on the album are in for a surprise. Bass and piano have generated so many ideas that all but one of the tracks – the traditional folksong “Eja Mitt Hjärta”, that Danielsson arranged especially for this album – are original compositions by Lars or Leszek. This proves to be a musical liaison that promises a long and fruitful future.

Barry Guy New Orchestra, special guest Elliott Sharp live at Jazzfest Berlin 2009

Photo © by Muriel Valmont

Barry Guy · bass, director
Evan Parker · reeds
Mats Gustafsson · reeds
Trevor Watts · reeds
Per Texas Johansson · bass clarinet
Herb Robertson · trumpet
Johannes Bauer · trombone
Per Åke Holmlander · tuba
Agusti Fernandez · piano
Paul Lytton · drums
Raymond Strid · drums
Elliott Sharp · guitar, electronics

recorded live at Haus der Berliner Festspiele, Main Stage, November 6, 2009

1. Danaus (Barry Guy) 23:11 Min
2. Radio Rondo (Barry Guy) 30:15 Min

“For the last four decades, British bassist Barry Guy has continually charted a personal path in advanced improvisational settings. His endeavors range from free contexts to arranged ensembles; from solo work to orchestra; from long-term groups to ad hoc meetings; from Baroque music to electro-acoustic experiments. Through it all, his balance of formal structures and dynamic improvisation is always at play. After decades working with the London Jazz Composers Orchestra, the challenges of assembling such a large ensemble on any consistent basis led to thoughts of forming a mid-size group (…)
Guy knows how to make the most of the musicians, massing the entire group, piling skirling reeds over low end brass, or hocketing lines back and forth over cascading piano. Fernández does a noble job filling Crispell’s seat, bringing a more percussive attack while playing down the melodic cells of the music. With a group like this, one expects strong solos all around, and of course no one disappoints.”
(Michael Rosenstein, Signal to Noise)

Having worked in the avant-garde and experimental music scene in New York City since the late 1970s Elliott Sharp has released over eighty-five recordings ranging from blues, jazz, and orchestral music to noise, no wave rock, and techno music. He pioneered the use of a lap top computer in live performance with his Virtual Stance project of the 1980s and more recently has used algorithm and fibonacci numbers in experimental composition.
The Barry Guy New Orchestra has released some CD´s on Intakt, e.g. "Inscape - Tableaux".

Yaron Herman Trio live at Jazzfest Berlin 2009/ live in Salzburg 2009 -UPDATE

Photo © by Jean-Michel Sabatier

Yaron Herman · piano
Stephane Kerecki · bass
Cedric Bec · drums

1. Jerusalem of gold (Naomi Shemer)
2. Prélude Nr. 2 B-Dur. Elevato (Alexander Skrjabin)
3. Layla Layla (Nathan Alterman/Mordechai Zeira)
4. In the wee small hours of the morning (Bob Hilliard/ David A. Mann)
5. Toxic (Cathy Dennis/ Christian Karlsson/ Pontus Winnberg/ Henrik Jonback)
6. Hetikva (trad.)

recorded live at Jewish Museum Berlin, Glashof, November 5, 2009


1. Lomidbar (Alexander Argov)
2. Heart-Shaped Box (Kurt Cobain)

recorded live in Salzburg/Austria, October 29, 2009

Yaron Herman was born on 12th July 1981 in Tel Aviv. He started out on a promising career as a basketball player on the Israeli national junior team but that was cut short by a serious knee injury which quashed his sporting ambitions. He only decided to take up playing the piano, at the age of 16. His teacher was the renowned Opher Brayer, famous for his methods based on philosophy, mathematics and psychology. Yaron was soon giving his first performances in the most prestigious concert halls in Israel.
At the age of 19, Yaron left for Boston, where he intended to attend the Berklee College of Music. He found it didn't satisfy his craving for knowledge and discovery and decided to return to Tel Aviv. On the way back he stopped over in Paris, that evening he met some musicians during a jam session and was given a contract the very next day. He never left Paris from then on. A period of musical exchanges and getting to know people followed and –thanks to his enthusiasm and talent– he soon started to make a name for himself on the Parisian musical scene and beyond.
Yaron Herman's style reflects the influence of jazz musicians and pianists such as Keith Jarrett, Paul Bley, Lennie Tristano and Brad Mehldau, modern pop artists such as Björk, Sting and Olivia, and classical composers such as Alexander Scriabin and Maurice Ravel.
The trio´s latest release is called "Muse".

Wolfgang Schmid Kick live at Bavarian Broadcast 2010

photo by Sabine Grudda

Steffen Dix (Tenor & Soprano Saxophones)
Heiko Giering (Baritone Saxophone)
Peter Wölpl (Guitar)
Benedikt Moser (Fender Rhodes)
Luis Baltes (Rap, Human Beatbox)
Wolfgang Schmid (Bass)
Oli Rubow (Drums)

recorded live at Studio II, Bavarian Broadcast, Munich, January 27, 2010

Moderation und Auswahl: Beate Sampson
1. "Five o'clock a.m." (Wolfgang Schmid)
2. "Luis' Riff" (Wolfgang Schmid/Luis Baltes)
3. "Five for seven" (Wolfgang Schmid)
4. "A glimpse at the Blues" (Wolfgang Schmid)
5. "Soweto" (Abdullah Ibrahim)

Bassist Wolfgang Schmid, known from Klaus Doldinger´s Passport, is leading his band Kick for more than 25 years, their latest album is "Let the groove begin…", released 2007 on Skip.

Depart live at Northern German Broadcast/ Hamburg 2009

Photo © by: Francesca Pfeffer

Harry Sokal (sax)
Heiri Känzig (b)
Jojo Mayer (dr)

recorded live at Rolf-Liebermann-Studio, Hamburg, December 17 & 18, 2009

1. Mountain Messenger (Heiri Känzig)
2. Slice Of Bread (Heiri Känzig)
3. Magic Transition (Harry Sokal)
4. Less We Can (Harry Sokal/ Jojo Mayer)
5. Drei im Quadrat (Harry Sokal/ Heiri Känzig)
6. Du liebä Bueb vom Ämmital (Trad./ Arr. Heiri Känzig)

When Reloaded (ACT 9453-2) came out in 2006, it was hailed as “comeback album of the year”. In reality, the trio has more or less gone in a new direction. Part of the reason has been Jojo Mayer, the onetime substitute for Studer who has permanently taken over from his landsman. There had been a recent flowering of the piano trio that either revisits the romanticism of a Bill Evans or runs in the direction of pop. This triumvirate cleared away all the dead brush with their cascading powerhouse style. Almost one and a half year after Reloaded, Depart encapsulates this style with Mountain Messenger. The powerful group dynamic is even more impressive, as indicated by the fact that many of the pieces are cooperatively composed and arranged. Three instruments, three musical destinies, three extremely different sets of experiences meld into a single indissoluble impression. There are no interminable solos over the usual patterns here – the three are continually interacting, feeding each other new lines.

Roberto Fonseca Group live at "Die Glocke", Bremen 2009

Roberto Fonseca: Piano
Javier Zalba: Clarinet, Flute, Saxophones
Joel Hierrezuelo: Percussion
Ramsés Rodríguez: Drums
Omar González: Bass

recorded live at Die Glocke, Bremen, November 10, 2009

1. Consumatum est
2. Siete potencias
3. La flor que no cuide
4. Lento y despacio
5. Lento y despacio Part II
6. Cuando uno crece
7. Como en las peliculas
8. So que me hace vivir
9. El ritmo de tus hombros
10. Triste alegria
11. Bulgarian

Last October I introduced Roberto Fonseca to you and recommended his great album "Akokan". A great live performer with an overwhelming stage presence, Roberto Fonseca shows a virtuosic, fiery, eclectic, sometimes nearly orchestral approach to the piano. In Ibrahim Ferrer's words: "Boy, can the kid play!" A mixture of Cuban soul and jazz history, Fonseca's piano artistry includes unbelievable high-energy runs on the keyboard, a trace of Monk's angularity and a fine sense for poetic melodies. On his 2007 album "Zamazu" he is assisted by his long-term musical partner Javier Zalba (clarinet, soprano sax, alto sax, flute) and an incredibly flexible Cuban/Brazilian rhythm section.

Archie Shepp Quartet live at 32nd International Jazzweek Burghausen 2001

Archie Shepp, tenor saxophone, vocals
Amina Claudine Myers, piano, vocals
Ronnie Burrage, drums, vocals
Wayne Dockery, bass

recorded live at Wackerhalle, Burghausen, May 4, 2001

1. Hope 2
2. God Bless The Child
3. Mama Rose/ Revolution
4. Ev´ry Day´s A New Day
5. Dedication to Bessie Smith´s Blues
6. You Gotta Call Him

Archie Shepp "populates his musical world with themes and stylistic elements provided by the greatest voices of jazz: from Ellington to Monk and Mingus, from Parker to Siver and Taylor. His technical and emotional capacity enables him to integrate the varied elements inherited by the Masters of Tenor from Webster to Coltrane into his own playing but according to his very own combination: the wild raspiness of his attacks, his massive sound sculpted by a vibrato mastered in all ranges, his phrases carried to breathlessness, his abrupt level changes, the intensity of his tempos but also the velvety tenderness woven into a ballad. His play consistently deepens the spirit of the two faces of the original black American music: blues and spirituals. His work with classics and with his own compositions (Bessie Smith’s Black Water Blues or Mama Rose) contributes to maintaining alive the power of strangeness of these two musics in relationship to European music and expresses itself in a unique mix of wounded violence and age-old nostalgia. (…) With his freedom loving sensitivity Archie Shepp has made an inestimable contribution to the gathering, the publicizing and the inventing of jazz."
His latest album called "Phat Jam in Milano" was released in 2009 on Dawn of Freedom.

OddJob - "New Sounds From Sweden" live at JazzBaltica 2009

Goran Kajfeš - Trumpet
Per "Ruskträsk" Johansson - Alto & Baritone Saxophone
Daniel Karlsson - Piano, Fender Rhodes, Organ
Peter Forss - Bass
Janne Robertson - Drums

recorded live at Große Konzertscheune, Salzau, July 5, 2009

1. Luma
2. Sewerside Blues
3. Lim
4. The Big Hit
5. Dariaa
6. Kings Are Marching Out
7. Småland
8. Must

The Oddjob Quintet is a prime example of why Scandinavian musicians play such a prominent role in the latest happenings in jazz. It’s not just about technique and virtuosity; rather its unconditional concentration on a unique sound and the impact of melody. In Scandinavia, ear training is more important than it is elsewhere. At the same time Scandinavian musicians consequently have an unrivalled openness for styles and genres. No wonder, then, that Oddjob also became involved in the recent resurgence of the jazz-rock of the 70’s; yet Oddjob’s approach sounds different.
The project came about accidentally. Shortly after the beginning of this new millennium four of Sweden’s most accomplished studio musicians and jazz exponents found themselves together as a tour band for resident soul star Eric Gadd.
They soon began tossing around the possibility of working together on a project. “We just talked about it; never played anything out,” explains Per Johansson. That was soon to change; pianist Daniel Karlsson joined the group, and Oddjob was born.
Their next album called "Clint", a homage to Clint Eastwood will be released on February 26, 2010 on ACT.