Martin Wind / New York Bass Quartet - AIR (Four double bassists in Martin Wind's "tour de force") Available February 25, 2022 via Laika Records

Martin Wind presents the double bass in an entirely new way with his New York Bass Quartet album AIR

Available February 25, 2022 via Laika Records

Featuring bassists Wind, Gregg August, Jordan Frazier and Sam Suggs 

plus Matt Wilson, Lenny White and Gary Versace 

“... a tour de force.  Each of the quartet members are virtuosos on the double bass collaborating to present a fun, unique, and accessible program of eclectic music from J.S Bach to Paul McCartney to Martin Wind....this recording has raised the bar to a higher level for the 21st Century Double Bass community and music lovers, alike. BRAVO GENTLEMEN!  I love it!”

– jazz bassist/composer Rufus Reid

Air, the new album by bassist Martin Wind,  presents the double bass in an entirely new way: making it the center of the action. Wind, born in Flensburg, Germany, emigrated to New York a quarter of a century ago to seek his musical fortune in the world capital of jazz, and found it. Now, on Air, he introduces us to his New York Bass Quartet.

The idea of forming an all-bass ensemble came to Wind about ten years ago when he began teaching at Hofstra University. "For this group I wanted to gather students from different stylistic backgrounds and expose them to a wide repertoire of pieces - from Bach chorales to pop songs to jazz adaptations. And because I didn't want the material to be repetitive week after week, my students and I started writing arrangements," Wind recalls. 

On Air, Wind documents eight of these arrangements with the support of several of New York’s world-class musicians. They include Jordan Frazier (principal bass with the renowned Orpheus Chamber Orchestra), Gregg August (2020 Grammy nominee in the "Best Large Ensemble Jazz Recording" category), and Sam Suggs, who at 30 sounds "outrageously mature," as Wind puts it.

"I consider them the A-Team for this kind of a project. Thanks to their versatility and perfect bowing technique, I was able to explore the immense tonal possibilities of the instrument, as well as the entire scope between classical, rock and jazz."

Photo by Pete Coco

The result delivers numerous moments of surprise while covering a sonic range of over four octaves. On the title track "Air," the ensemble starts off measured and close to the original by Johann Sebastian Bach. “(Give Me Some) G-String” also seems similar at first, before completely spinning into a different direction. Here, drum legend Lenny White ("Return to Forever") and Gary Versace on the Hammond B3 ensure that the piece grooves mightily.  On the Weather Report anthem "Birdland," White again puts his stamp on the arrangement with his uncompromising backbeat.

With his Beatles medley, Martin Wind demonstrates why he’s been making a name for himself as an arranger, as well. He weaves "The Long and Winding Road," "Here, There and Everywhere," "She`s Leaving Home" and "Lady Madonna" into a polyphonic work of art. The starting point for Wind's adaptation of Charlie Haden’s “Silence” is a chord progression of only eight measures, from which Wind creates an eight-minute opus. "Starting with a musical cell and expanding it - that's something that particularly appeals to me," reveals Wind, who  n achieves a special coup with Air - both musically and in terms of personnel.

The liner notes by Ron Carter, who played bass for Miles Davis,  reflect respect and admiration: "Imagine an album on which four bassists and some guest musicians dare to play exceptionally difficult arrangements - and succeed thanks to their outstanding skills. Well - stop just imagining it. Because this album is the sounding proof that it can succeed."

1. Air [Quartet Version] (J.S.Bach) 2:55

2. [Give me some] G-String (Martin Wind) 7:15

3. Beatles Medley (Lennon /McCartney) 8:48

4. Birdland (Joe Zawinul) 6:02

5. Silence (Charlie Haden) 8:06

6. I'd Rather Eat (Martin Wind) 6:50

7. Tell Her You Saw Me (Pat Metheny) 4:17

8. Iceland Romance (Martin Wind) 6:14

9. Air [Trio Version] (J.S.Bach) 3:33

Martin Wind (upright bass)

Gregg August (upright bass)

Jordan Frazier (upright bass)

Sam Suggs (upright bass)

Special guests

Matt Wilson, drums & percussion

Lenny White, drums

Gerry Versacepiano, organ, accordion

Produced 2021 by Martin Wind. Executive produced 2021 by Peter Cronemeyer.

Recorded by David Kowalski at Teaneck Sound Studio in Teaneck, New Jersey on March 19 and 27, 2021.

Mixed by Tyler McDiarmid in April/ May 2021 in Astoria, New York.

Mastered by Gene Paul in May 2021 at G and J Audio, Union City, New Jersey.

Photos by Pete Coco, Garden City, New York.

Laika Records

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MARTIN WIND QUARTET

My Astorian Queen

November 12, 2021 – Laika Records 

Martin Wind • Scott Robinson • Bill Mays • Matt Wilson

in Republic of Jazz

Andreas Hertel Trio - Blue Bop (January 28, 2022 Laika Records)

Mitreißender Swing, akustische funky-Grooves, lebensfroher Latin, gefühlvolle Balladen - Jazz mit Niveau, der Spaß macht! Die originellen und humorvollen Eigenkompositionen des Wiesbadener Pianisten begeistern schon seit über 20 Jahren sowohl das Publikum als auch die Fachpresse. Die Hessische Kulturstiftung förderte eine CD-Produktion und jetzt präsentiert das Trio sein neues Album "Blue Bop"! (bereits die 10. CD von Hertel mit Eigenkompositionen)

"Läuft - Modern Jazz, fein, elegant, swingend. Wie aus einem Guß... klassischer Trio-Modern-Jazz von internationalem Rang", war die begeisterte Reaktion im Netz (musenblaetter.de, Frank Becker 10.01.22).

Die drei leidenschaftlichen Vollblut-Musiker arbeiteten bereits mit internationalen Größen wie Tony Lakatos, Dusko Goykovich, Peter Erskine, Lee Konitz, Enrico Pieranunzi, Herb Geller, Charlie Mariano, der HR-Big Band und vielen anderen, die CD „Keepin’ The Spirit“ wurde 2016 nominiert für den Preis der deutschen Schallplattenkritik.

Diese Besetzung verspricht beste Unterhaltung und absolute Glanzlichter in furiosen Improvisationen, kompaktem Zusammenspiel und magischen Balladen-Momenten, denn alle diese Musiker bringen neben ihrer hohen spielerischen Qualität auch stets eine Menge Spaß auf die Bühne!

"Es ist ein großes Hörvergnügen, das dem Zuhörer angeboten wird", „rhythmisch nickende Köpfe, wippende Füße und kräftiger Applaus"- so lobt die Presse das Trio und bezeugt, wie deren Spaß an der Musik unweigerlich auf das Publikum überspringt!

PRESSE

„Läuft - Modern Jazz, fein, elegant, swingend. Wie aus einem Guß, aber keinesfalls eintönig präsentiert sich Andreas Hertels mittlerweile zehntes Album „Blue Bop“, klassischer Trio-Modern-Jazz von internationalem Rang. Mit Johannes Schaedlich am Kontrabaß … und dem bewährten Jens Biehl am Schlagzeug hat Pianist Andreas Hertel ein Team, das so präzise wie ein Uhrwerk funktioniert, aber in den elf eingespielten Titeln … auch viel kreativen Raum für sensible Soli des Klaviers und der exzellenten Sidemen gibt... Ein feines, elegantes Album – von den Musenblättern empfohlen.“

  www.musenblaetter.de (Frank Becker), 10.01.22

"Andreas Hertel gehört zu den umtriebigsten Jazzern der Szene, dessen kreativer Output bemerkenswert ist... Mit „Blue Bop“, seinem insgesamt zehnten Album, präsentiert Andreas Hertel einmal mehr eine gelungene Verbindung von niveauvoller Musik und hohem Unterhaltungswert."

  www.wegotmusic.de (17. Dezember 2021, Written by Herbert)

"Es ist ein großes Hörvergnügen, das dem Zuhörer angeboten wird, gewürzt durch humorige Anmerkungen von Pianist und Komponist Andreas Hertel. Mal schwungvoll und locker, mal gefühlvoll und groovig, die Musik des Trios ist nie langweilig. In ihren Soli beweisen die Musiker mit großem Vergnügen an der Improvisation ihr Können am jeweiligen Instrument. Der am Ende des Konzerts reichlich gespendete Beifall sprach für sich, die Gäste fühlten sich musikalisch sehr gut unterhalten."   

  Gelnhäuser Neue Zeitung 31.05.2019

„Rhythmisch nickende Köpfe, wippende Füße und kräftiger Applaus – den rund 60 Zuhörern gefiel „Jazz im Autohaus“ mit dem Andreas Hertel Trio im Autohaus Gottron in Bremthal sichtlich. … Eigenkompositionen - von gefühlvollen, verträumten Balladen über entspannt groovende, eingängig-gefällige Melodien bis hin zu modernen, schnellen, teils komplex-rhythmischen Improvisationen, jedoch immer auf den Punkt gebracht, ohne zu stark ins Abstrakte zu gehen und dennoch experimentell genug, um stets etwas Neues, teils Unerwartetes zu bringen.“

  Eppsteiner Zeitung, 14.10.2021

1) Blue bop (04:55)

2) The joy of fun (04:49)

3) Peaceful movement (04:25)

4) Rest is klar (03:37)

5) African dance (04:58)

6) For those who love (04:40)

7) Time keeps standing still (03:49)

8) Nice to meet you (04:28)

9) When your heart gets lost (04:28)

10) Kick off (05:16)

11) Hope that helps (06:12)

Andreas Hertel - piano

Johannes Schaedlich - bass

Jens Biehl - drums

Laika Records    Andreas Hertel Website

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Martin Wind Quartet - My Astorian Queen (November 12, 2021 Laika Records)

Bassist and composer Martin Wind is on a roll with two upcoming albums from Laika Records.

He celebrates 25 years in NYC with My Astorian Queen, a quartet album featuring Wind and his Quartet with Scott Robinson, Bill Mays and Matt Wilson. The album will be released November 19, 2021. 

Wind follows this album on February 25, 2022 with the release of AIR featuring his New York Bass Quartet (Wind, Greg August, Jordan Frazier, Samm Suggs along with special guests Matt Wilson, Gary Versace and Lenny White).

Wind is one of a few German jazz musicians that have been able to establish themselves and remain on the New York jazz scene. My Astorian Queen is a heartfelt thank you note to “this city and its welcoming artistic community in general, and some very special human beings in particular, that have guided and formed me over the last quarter of a century.”  

The album is also a tribute to his wife.  Wind hadn’t even been in New York for 24 hours when Mays’ wife at the time introduced Wind to one of her colleagues. “On my second day in NYC I got to meet my future wife on a blind date – what are the chances?! The first couple of years were incredibly intensive and life-changing: my studies at NYU, the first attempts of making the scene, my marriage to Maria and the birth of our first son, all while living in a cute apartment in Astoria, Queens.”

George Gershwin wrote a song for Porgy and Bess called “There`s a Boat That’s Leaving Soon For New York.” Except for the fact that Martin Wind arrived at the Big Apple exactly 25 years ago by plane a lot of the Gershwin opera’s storyline could have been written for him. The bassist from Flensburg, Germany has found his version of the American Dream. “I’ve been living it ever since my arrival in 1996 together with my wife, our two grown-up sons, our dog and the house in the New Jersey suburbs, just outside of big city.” As a matter of fact, he is one of a few German jazz musicians that were able to establish them- selves on the New York jazz scene for good. His new al- bum My Astorian Queen is a heartfelt thank you note to “this city and its welcoming artistic community in general, and some very special human beings in particular, that have guided and formed me over the last quarter of a century."

He’s referring to the members of his quartet - all veterans of the New York jazz scene. Pianist Bill Mays was impressed by the classically trained bassist when he heard him for the first time at the North Sea Jazz Festival in Rotterdam in 1992. He started to mentor him as they recorded and toured Europe together with the late drummer Keith Copeland. “Bill used to fax me pages and pages of tunes that he wanted me to learn when I was still living in Cologne.” 

Wind hadn’t even been in New York for 24 hours when Mays’ wife at the time, who worked at a hospital, introduced Wind to one of her colleagues. “On my second day in NYC I got to meet my future wife on a blind date – what are the chances?! The first couple of years were incredibly intensive and life-changing: my studies at NYU, the first attempts of making the scene, my marriage to Maria and the birth of our first son, all while living in a cute apartment in Astoria, Queens.” 

The swinging opener, “Mean What You Say,” relates to a magical moment that Wind experienced at the legendary Village Vanguard. “It took several years before I got a chance to play a Monday night with the Vanguard Jazz Orchestra. While some of the last guests were taking their seats, the rhythm section started to play this great composition by Thad Jones. Already while setting up my gear, I had noticed how unbelievable my instrument sounded in the acoustics of this basement club: warm and chocolatey, yet incredibly clear and defined. That first night with this band was one of those NYC moments that I will never forget.” 

While establishing his New York career, Wind took a wide variety of gigs including subbing on major musicals. Those theater jobs inspired him to record “Broadway.” “I got to play a dozen or so performances of Webber’s ‘Phantom of the Opera,’ which was not my cup of tea. I much preferred a production of Cole Porter’s fabulous ‘Kiss me, Kate’ with arrangements by Don Sebesky.” 

Outstanding on this track is Scott Robinson, featured on the mighty bass saxophone. Robinson plays seemingly every reed and brass instrument ever invented, and Wind identifies him as “the voice of my music.” Robinson’s rehearsal and recording space, which he calls his laboratory, is home to many uncommon instruments such as a bass marimbaphone, a theremin and the extremely rare contrabass saxophone. “Scott and I share the same birthday, live in the same town AND he brews his own beer! He is an unbelievably spontaneous and sensitive musician who manages to still surprise and deeply move me after all these years of playing music together.” 

Bill Mays, Scott Robinson, Martin Wind, Matt Wilson at Deer Head Inn, Pennsylvania, July 4, 2021 by Jeff Dunn, Detroit

Those who can’t get enough of the wonderfully growling sound of the bass saxophone will be happy to discover a short encore somewhere towards the end of the Brazilian song “E Preciso Perdoar,” which was made famous by João Gilberto and Stan Getz. 

Wind’s third trusted friend and musical partner is drummer Matt Wilson, with whom he has spent more time on the road than with any other musician over the last 20+ years. “Matt was one of the first established band-leaders to invite me into his world and accept me as his equal. Because of him I started to believe that I might belong here. His presence is so liberating that you think you can fly - he welcomes everything you offer so completely that there really isn’t such a thing as doing anything ‘wrong’ around him.” With the classic Sinatra hit “New York, New York,” the two friends close out the album. Their approach is a lot looser than the original: “Matt and I love to use the term ‘going into the sandbox.’ It means to innocently sit down in the sandbox and to start molding, creating and truly playing with the material - and then react to what is starting to appear in front of you.” It seems that this approach is working: “After hearing our take, Bill Mays commented approvingly: ‘Man, you almost make me like that song!” 

In every sense, this album turned out as a fitting and genuine musical gift to the metropolis and its soulful inhabitants. The compositions narrate some of Wind’s personal NY stories, and are presented with song serving, yet unpredictable arrangements. 

It all adds up to a fitting tribute to the one person in Wind’s life that has made this ongoing musical adventure possible: Maria, his “Astorian Queen.”

1 Mean What you Say (Thad Jones) 7:36

2 Solitude (Martin Wind) 5:30

3 Broadway (Wilbur H. Bird) 6:08

4 Peace Waltz (Bill Mays) 7:38

5 È Preciso Perduar (Carlos Cequeijo & Aleivando Luz) 5:04

6 Out in P.A. (Martin Wind) 8:04

7 My Astorian Queen (Martin Wind) 5:34

8 There’s a Boat that’s leaving soon for New York (George Gershwin) 4:57

9 New York, New York (Fred Ebb & John Kander) 3:15

Martin Wind (upright bass)

Scott Robinson (tenor-, bass-saxophone, clarinet, trumpet)

Bill Mays (piano)

Matt Wilson (drums, percussion)

Produced by Martin Wind, co-produced by Matt Balitsaris, executive produced by Peter Cronemeyer.

Recorded (July 4 & 5, 2021) and mixed by Matt Balitsaris at Maggie’s Farm, Pennsylvania.Mastered by Gene Paul in July 2021 at G & J Audio, Union City, New Jersey. Cover photos by Olff Appold, Hamburg. Live photo Deer Head Inn, Pennsylvania, July 4, 2021by Jeff Dunn, Detroit. Martin Wind plays D’Addario Strings, Acoustic Image Amps, The “Lifeline” Pick-up, the “Nadine” bass microphone by Ear Trumpet Labs and a beautiful instrument crafted for him in 2017 by master luthier Arnold Schnitzer.

Wind celebrates My Astorian Queen with NYC concerts:  

• Thursday, November 18 – Martin Wind Quartet at Cellar Dog 

• Friday, November 19 – MW Trio at Mezzrow

Martin Wind

Laika Records

MSM Schmidt - Life (LAIKA RECORDS 2017)

Life

Four decades have passed since the golden era of fusion, when groups like the Mahavishnu Orchestra, Weather Report and Return To Forever ruled the musical landscape. Today only a select few are still waving the flag for fusion. Chick Corea, at age 75, continues to fire up his Elektric Band on occasion while John McLaughlin, who at age 74 has announced that he will retire from touring at the end of 2017, is still killing it with his 4th Dimension Band. Joe Zawinul is gone but the powerhouse Zawinul Legacy Band continues in his spirit of fusing world music, rock and jazz. There’s also Human Element, a co-op group featuring keyboardist and Zawinul disciple Scott Kinsey, electric bass marvel Matthew Garrison, drummer Gary Novak and percussionist Arto Tuncboyaciyan. And bass great Jimmy Haslip, formerly of Yellowjackets, is reuniting with guitar slinger Robben Ford for another upcoming Jing-Chi project and also appears on the new Jeff Lorber Fusion album, Prototype.

Add to that list the name of Michael Schmidt, or as he prefers to be called, MSM Schmidt. The Bremen-born keyboardist-composer has been consistently turning out high quality jazz-rock recordings over the past decade with a Who’s Who in American Fusion as his sidemen. Bassist Haslip, who produced or co-produced Schmidt’s previous two outings — 2015’s Utopia and 2012’s Evolution — is back on board for Life, a staggering collection of funk fusion with some of the biggest names in that genre today, including guitarists Mike Miller and Oz Noy, keyboardists Kinsey and Mitchel Forman, saxophonist Steve Tavaglione, violinist Charlie Bisharat and a phalanx of superb drummers in Dave Weckl, Gary Novak, Virgil Donati and acclaimed German drummer Jost Nickel.

“This is my fifth project working with Michael and my third production for him,” said Haslip. “Over that time, I have found a real connection with Michael, his intellect and his passionate expression. Life is a culmination of his voice as a composer and synthesist. Working with Michael as a producer is always a beautiful challenge and quite rewarding on several levels and this project was a joy to work on. My hopes are that he will reach a larger widespread audience with the release of this new recording.”

Says Schmidt of his working relationship with bassist-producer Haslip: “We met in person for the first time after a ‘Tribute to Tony Williams’ concert with Allan Holdsworth in Berlin and immediately liked each other. With each project his role as a producer and his influence on the music has grown. He knows my favorites and by now has a carte blanche to select and contact the musicians and organize the recording sessions.”

This potent project, Schmidt’s sixth overall, also marks the final recorded performances of the late guitar hero Allan Holdsworth, who lends his astonishing legato lines to two songs on Life, the aptly-titled “Trance” and the posthumously-titled “Vista,” the name of the California town where the guitar great resided until his passing on Easter Sunday at the age of 70. “It has always been one of my dreams to feature Allan on one of my songs,” said Schmidt. “Thanks to Jimmy's initiative, this dream became true. And it came as a surprise, too, because Jimmy only told me after Allan's recording session was finished.”

Added Haslip, who played alongside Holdsworth in the guitarist’s group for the last ten years of his life (appearing on 2010’s 2-CD set, Blues For Tony): “I spent a couple of days with Allan in late January 2017 and watched over some of the final process of him editing and playing, but basically his process was best accomplished with no one around. He was a perfectionist with his own very meticulous method of compiling his music and his solos. He preferred to be alone during those days of preparing, studying the harmony at hand and then building and constructing his soloing on the two tunes he played on. He was brilliant and like no other musician I've ever worked with. His playing will always be ahead of its time, even though he would never cop to that, being such a very humble person. I was extremely appreciative to him for agreeing to play on the music and I will always be in awe of working with him.”

Originally a self-taught drummer, Schmidt transitioned to keyboards during the ‘90s as he began developing a knack for composition. “Over the years I discovered that playing drums did not put me in the position to influence songs,” he explained. “Therefore I started to learn to play keyboards and various music software to compose my own music. Realizing that my drumming skills were too limited, I discovered that it was more satisfying to compose music. And with the help of my friend Helge Mruck, who showed me how to play keyboards and create songs on the computer, I began composing. As time passed, keyboards and software became more and more user friendly, which made composing easier for me. Not knowing how to read and write notes, I searched for sounds that are close to the natural instrument I had in mind, so that musicians who I wanted to play the music got an impression of my idea. However, I always needed the support of professionally educated musicians who were able to put my music into playable charts.”

And once again, Schmidt is supported by the cream of the fusion crop on Life.

The album kicks off with the kinetic groover “Trance,” underscored by Weckl’s authoritative backbeat and featuring some brisk soprano sax lines from Katisse Buckingham, a member of the Zawinul Legacy Band. Kinsey delivers an exhilarating synth solo on this aggressive number and Holdsworth contributes one of his patented mind-blowing legato solos to quickly elevate the proceedings.

Novak paces the melodic “Saudade City,” which features a soaring soprano sax solo from Andy Snitzer and an edgy fusion guitar solo from Mike Miller. “Vista,” dedicated to Allan Holdsworth, rides on Donati’s insistent groove. John Daversa delivers a haunting muted trumpet solo here while Holdsworth extended jaw-dropping solo is followed by a furious flurry on the kit by Donati.

The percolating, African flavored 6/8 jam on “Life” is fueled by Nickel’s muscular drumming and features a buoyant frontline of Tavaglione overdubbing flutes and soprano sax. Schmidt’s chorus of programmed handclaps and Sophia Wackerman’s wordless vocals add to the uplifting vibe of this highly-charged number. Haslip also turns in a resounding fretless bass solo here and is followed by potent solos from guitarist Miller and Tavaglione sailing over the top on soprano sax.

“Red & Gold” is an infectious world music flavored groove powered by Donati’s solid backbeat and the strong piano comping of Ruslan Sirota, a Ukranian pianist-composer who came to Schmidt’s attention as a member of the Stanley Clarke Group at the North Sea Jazz Festival in The Netherlands. This ebullient number features a bracing violin solo from former Mahavishnu Orchestra member Jerry Goodman along with a heroic wah-wah soaked guitar solo from Oz Noy and a rousing piano solo from Sirota.

The driving “Exodus” is a large ensemble showcase featuring a stellar horn section comprised of saxophonists Bob Mintzer, Brandon Field and Snitzer alongside the Fowler Brothers (Walt on trumpet and Bruce on trombone, both formerly of the Frank Zappa band). Nickel anchors this swaggering bit little big band funk which features killer solos from guitarist Miller, tenor saxophonist Mintzer and soprano saxophonist Snitzer.

“Rush” is a slap bass feature for the incredible MonoNeon (aka Dwayne Thomas, jr.), a YouTube sensation and protege of Prince and Screaming Headless Torsos guitarist David “Fuze” Fiuczynski. Weckl lays down the slamming groove while Sirota comps persuasively on the Rhodes before adding a nimble, Herbie Hancock influenced solo. Larry Koonse contributes a warm-toned flowing guitar solo and MonoNeon adds a fluid fretless bass solo on this invigorating number.
“Medusa” is a menacing bit of slow-grooving funk-fusion paced by the formidable tandem of Donati and Haslip and featuring a potent Rhodes solo from Kinsey. Oz adds a ripping distortion-laced guitar solo that is brimming with urgent speed-picking and audacious fretboard flights while Donati showcases a touch of metric modulation on his drum solo before erupting on the kit with abandon at the tag.

“RE-Start” is a buoyant bit of future funk fueled by the tight tandem of Novak and Haslip along with Schmidt’s kinetic synth sequences. Snitzer carries the melody on soprano sax while Noy showcase his heavy metal bebop chops on a fuzz-inflected guitar solo. Keyboardist Andy Milne also stretches out on a potent Rhodes solo here. The album closes with a short reprise of the title track, which reveals a significant world music influence.

“I would definitely describe my music as fusion,” says Schmidt. “My influences come from bands like Metro, The Yellowjackets, Weather Report and Steps Ahead and also from film scores from the eighties. I am a big fan of the French composer Michel Colombier, who lived in Los Angeles for many years and wrote scores for movies such as Purple Rain and The Golden Child, both synthesizer-heavy scores with drum programming.”

All those myriad influences come together in brilliant fashion on Life, another fully realized project from the pen of MSM. — Bill Milkowski

Bill Milkowski is a regular contributor to Down Beat and Germany’s Jazzthing magazine. He is also the author of “JACO: The Extraordinary and Tragic Life of Jaco Pastorius (Backbeat Books)

1. Trance (feat. Dave Weckl, Allan Holdsworth, Scott Kinsey, Jimmy Haslip & Katisse Buckingham) 6:02

2. Saudade City (feat. Gary Novak, Andy Snitzer, Scott Kinsey, Mike Miller, Ruslan Sirota & Jimmy Haslip) 7:32

3. Vista (feat. Virgil Donati, Allan Holdsworth, John Daversa, Andy Milne & Jimmy Haslip) 8:20

4. Life (Long Version) [feat. Jost Nickel, Mike Miller, Steve Tavaglione, Jimmy Haslip & Sophia Wackermann] 8:11

5. Red and Gold (feat. Virgil Donati, Ruslan Sirota, Jerry Goodman, Oz Noy & Jimmy Haslip) 6:19

6. Exodus (feat. Jost Nickel, Mitch Forman, Mike Miller, Brandon Fields, Andy Snitzer, Bob Mintzer, Bruce Fowler, Walt Fowler, Charlie Bisharat & Jimmy Haslip) 6:59

7. Rush (feat. Dave Weckl, MonoNeon, Ruslan Sirota, John Daversa & Larry Koonse) 7:19

8. Medusa (feat. Virgil Donati, Scott Kinsey, Oz Noy & Jimmy Haslip) 7:39

9. Re Start (feat. Gary Novak, Oz Noy, Andy Milne, Andy Snitzer & Jimmy Haslip) 6:45

10. Life (Short Version) [feat. Jost Nickel, Mike Miller, Steve Tavaglione, Sophia Wackerman & Jimmy Haslip] 5:29

Line up:

Charlie Bisharat, Katisse Buckingham, John Daversa, Virgil Donati, Brandon Fields, Mitchel Forman, Bruce Fowler, Walt Fowler, Jerry Goodman, Jimmy Haslip, Allan Holdsworth, Scott Kinsey, Larry Koonse, Mike Miller, Andy Milne, Bob Mintzer, MonoNeon, Jost Nickel, Gary Novak, Oz Noy, Michael Schmidt, Ruslan Sirota, Andy Snitzer, Steve Tavaglione, Sophia Wackerman, Dave Weckl

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Ed Kröger Quintett (feat. Ignaz Dinné) - In the Moment (LAIKA RECORDS 2017)

Ed Kröger, der in Cuxhaven aufwuchs, als Kind Klavier und vom 16. Lebensjahr an Posaune gelernt hatte, studierte ab 1965 in Bremen Posaune. Er spielte dort im Sextett von Harald Eckstein, mit dem er auf den Festivals in Düsseldorf, Frankfurt, Wien und Zürich auftrat. 1967 gründete er mit Sigi Busch und Heinrich Hock eine eigene Gruppe, die um Joe Viera erweitert 1968 in Österreich, Ungarn und Luxemburg gastierte. Kröger arbeitete weiterhin mit Marion Brown, Steve McCall, Gerd Dudek und Albert Mangelsdorff und trat 1968 und 1969 in den Free Jazz-Gruppen von Fred Van Hove und Wolfgang Dauner auf dem Berliner Jazz-Festival auf. Weiterhin verfasste er das Lehrbuch „Die Posaune im Jazz“, bevor er nach dem Examen als Orchestermusiker ein Studium als Musiklehrer begann. 1972 wurde er als deutscher Vertreter zum Jazzworkshop der Europäischen Rundfunkanstalten entsandt. 1973 wechselte Kröger zum Klavier, spielte im eigenen Trio, aber auch mit Manfred Schoof, Wolfgang Engstfeld, Christof Lauer, Uli Beckerhoff und Wolfgang Lackerschmid. Er war weiterhin als Dozent an den Musikhochschulen in Hannover und Hamburg tätig. 1984 kehrte er wieder zur Posaune zurück und gründete (u.a. mit Detlev Beier) die Gruppe „Trombone Jazz“. Seit 1999 tritt er mit seinem bop-orientierten Quartett bzw. Quintett auf.

Das Quintett mit seinem Sohn Ignaz Dinné (Tenorsaxofon), Rick Hollander (Schlagzeug), Vincent Bourgeyx (Klavier) und Tom Berkmann (Kontrabass) gehört zu den spannendsten und virtuosesten Ensembles, die in der US-amerikanischen Tradition des Hardbops stehen. Mit ihren Kompositionen verleihen Kröger und Dinné dem Sound des Quintetts eine eigene, unverwechselbare Farbe. Dabei ist die Ausgangslage für Bandleader Kröger klar. „Das Time-Spiel, die Changes und das Interplay zwischen Bläsern und Rhythmusgruppe sind für mich unverzichtbare Grundzutaten des Musizierens.“

„In the Moment“ ist eine Momentaufnahme, die die musikalische Entwicklung der Band dokumentiert. Die meisten Ensemble-Mitglieder spielen schon seit mehr als zehn, einige sogar schon seit rund 20 Jahren miteinander. „Auf der zurückliegenden Tour haben wir neues Material ausprobiert, was uns zahlreiche stimmungsvolle und unvergessene Momente bescherte. Von diesem Band-Spirit wollten wir so viel wie möglich ins Studio retten“, blickt Kröger auf die Aufnahmen zurück. Aus Sicht des Bandleaders hat sich vor allem die Rhythmusgruppe deutlich weiterentwickelt. 

Hier vereint der Pianist Vincent Bourgeyx brillante Improvisationsgabe mit einer seltenen Balance aus technischer Meisterschaft und musikalischer Kreativität. Auch der neue Bassist Tom Berkmann fügt sich mit seinem erdbezogenen Sound perfekt in die hochkarätige Rhythmusgruppe ein, die durch Rick Hollander komplettiert wird. „Rick ist der Motor des Ensembles, der mit seiner Energie und Initiative die Musik entscheidend mitgestaltet. Ich fühle mich durch ihn enorm inspiriert, weil er immer wieder neue Ideen für die Improvisationen liefert“, erklärt Saxofonist Dinné die Funktion des Drummers.

Seine Aussage verdeutlicht, dass das Ed Kröger Quintett wie eine Art Klanglabor funktioniert, in dem Jeder die Ideen des Anderen musikalisch weiterentwickeln kann. Ein Prinzip, das sich an Songs wie „NAJA“  gut erkennen lässt. „Der Song war fertig, er funktionierte aber noch nicht so, wie ich mir erhofft hatte. Also dachte ich: na ja, das ist dann eben so und reichte die Komposition an unseren  Pianisten Vincent weiter, der sie mit seinen Ideen verfeinerte.“

 „Changes“ nimmt dagegen Bezug auf einen musikalischen Schatz, der erst kürzlich aus den Tiefen der Archive gehoben werden konnte. 1983 hatte Ed Kröger mit dem Hardbop-Quintett „Changes“ ein Album in Köln eingespielt, das lange als verschollen galt. Bis sich herausstellte, dass Bassist Detlev Beier Aufnahmen der legendären Sessions besaß. „Ihm haben wir dieses Stück gewidmet, weil er im vergangenen Jahr verstorben ist“, erklärt Kröger. Neben den sieben Eigenkompositionen (vier aus der Feder von Kröger, drei von Dinné ) hat das Ensemble auch eine Komposition des Saxofonisten Eric Dolphy eingespielt. „245“ ist ein langsamer Blues, eine musikalische Reminiszenz an ein Haus in Brooklyn, das einst Slide Hampton gemietet hatte. In diesem Haus mit der Nummer 245 wohnten neben Dolphy noch andere Musiker in einer Art Kollektiv. 

Auch aus dem Ed Kröger Quintett ist im Laufe der Jahre eine - im besten Sinne des Wortes - musikalische Familie geworden, die drei Generationen vereint und ihre Stärke aus den Unterschieden ihrer Mitglieder schöpft. So kann Bandleader Kröger (Jahrgang 1943) auf mehr als 50 Jahre Bühnenerfahrung zurückblicken, während sich Dinné (Jahrgang 1971) durch Studienjahre in Boston und New York den kompositorischen und solistischen Feinschliff holte – bei Musikern wie Ron Carter, Herbie Hancock, Wayne Shorter und Wynton Marsalis.

„Ich bewundere, mit welcher Leidenschaft Ed die Band künstlerisch, vor allem aber auch menschlich leitet“, beschreibt Dinné  die besondere Chemie in dem Quintett, in dem er den Wohlfühlfaktor als hoch, der Stresslevel dafür als umso niedriger empfindet. „Musik bedeutet für meinen Vater nicht einfach nur, ein Instrument zu spielen, sondern Musik ist für ihn ein Lebensgefühl - auf und außerhalb der Bühne“.

1. Patience (feat. Ignaz Dinné, Vincent Bourgeyx, Tom Berkmann, Rick Hollander) 7:35

2. Supito (feat. Ignaz Dinné, Vincent Bourgeyx, Tom Berkmann, Rick Hollander) 4:21

3. Lost and Found (feat. Ignaz Dinné, Vincent Bourgeyx, Tom Berkmann, Rick Hollander) 5:27

4. In the Moment (feat. Ignaz Dinné, Vincent Bourgeyx, Tom Berkmann, Rick Hollander) 4:09

5. Always There (feat. Ignaz Dinné, Vincent Bourgeyx, Tom Berkmann, Rick Hollander) 8:08

6. Naja (feat. Ignaz Dinné, Vincent Bourgeyx, Tom Berkmann, Rick Hollander) 6:01

7. 245 (feat. Ignaz Dinné, Vincent Bourgeyx, Tom Berkmann, Rick Hollander) 7:33

8. Changes (feat. Ignaz Dinné, Vincent Bourgeyx, Tom Berkmann, Rick Hollander) 4:36