Everything the young German Jazz scene has to offer in terms of new sounds, from modern to Techno-Jazz, to piano power, to sensational voices. Solo, as a duo or as a trio. In the intimate, relaxed atmosphere of a living room
And the entrance is free.
Once a month at the Living Hotel Frankfurt.
Culture journalist from “Süddeutsche Zeitung” and curator from “JAZZ? WE CAN!”
Saturday, 20.10.2018, start 20:00 // Incredible Jazzband – Event in Facebook
Wendsday, 14.11.2018, start 20:00 // Swing & Bossanova – Event in Facebook
Friday, 14.12.2018, start 20:00 // Swing & Bossanova – Event in Facebook
Tuesday, 11.02.2019, start 20:00 // Jazzmusic – Event in Facebook
Monday, 19.03.2019, start 20:00 // Incredible Jazzband – Event in Facebook
Thursday, 11.04.2019, start 20:00 // Jazzmusic – Event in Facebook
The coming artists you can look forward to
The Allgäu brass player says he’s just a “musician”, (playing everything from the trumpet to euphonium and the alp horn) Mathias Schriefl. In any case, the Jazz genre, which is usually ascribed as his sound, is actually only one facet of his exuberant performance; he applies all kinds of conceivable styles, genres and tonal varieties.
When there was no room for piano and drums at one particular performance, bassist Sven Faller and singer Stefanie Bolz simply tried playing without them: the charm of this reduction of one of the most unusual duets in the current music scene, was palpable. It was given the extravagant name “Le Bang Bang”.
Across three albums, Faller worked his way through music history intonation – sometimes plucking, sometimes striking his base, sometimes percussive, sometimes electronically alienated, together with the glittering, iridescent Bolz, belting out tones from the lyrical to lascivious. Jazz standards are briefly and crisply subjected to their own sound, as is rock (“Owner Of A Lonely Heart”), filmic music, and even German Pop (“Junimond”). Whatever it is, it’s always fun, for them and the audience.
Soul-Jazz a la David Sanborn, at its best.
Max Merseny, an “Echo”-nominated Jazz saxophonist, is at home on the world’s stages. His mixture of Jazz, Funk, R&B, soul and hip hop sounds are reminiscent of both the past and the present.
Ferdinand Kirner, a graduate of the “Hochschule für Musik und Theater München”, is friend of Max, and has been one of the most sought-after guitarists, both within and beyond the state capital for years. He plays with Max Herre, Jan Delay, Joy Denalane and in “The Voice of Germany” casting show’s band.
The powerful and bluesy voice of 28-year-old Johanna Schneider, who has released a CD with “Pridetime”, together with her band, has nothing in common with unmemorable young women of the lightweight Pop and songwriter scene. Instead, she identifies with Dinah Washington and Abbey Lincoln, among others, who have left a powerful legacy as the great Jazz singers of our time. Moreover, she is already one of the few creative Scat singers, who has developed her own “sound language”. Two young artists who could hardly be more different, and yet have similar musical influences and preferences. Both were lucky enough to study under the recently deceased Grand Master, John Taylor. Both of them have played in bands with the uniquely talented Ack van Rooyen. Their collection of well-known, and sometimes less well-known, Spring Songs is as refreshing as the musicians themselves, who interpret the songs with their own unique expressions.
TechnoJazz by the current winners of the “BMW World Jazz Awards” – “It is therefore only logical that the Munich trio LBT should receive the prize this year; their Jazz music excursion into the purely acoustically generated sound-world of techno is an exemplary new Jazz concept, which is currently heard in Munich. It’s a sound that combines new big band sounds with hip-hop, or Harry Klein’s club sound – that’s the name of the Munich club in which LBT will also be playing next Saturday. Chamber Jazz on concert grand piano, double bass and drums, the same combination of instruments with which the trio started their collaboration three years ago”. It was inspired by the Munich-based “Hochschule für Musik”, whose graduates often attract attention with unconventional and innovative projects.
At 35, Jazz musicians are no longer part of the “younger” generation. Besides thorough training, one usually has extensive band and tour experience. It’s no different with the “Regensburger” guitarist Andreas Dombert. Originating from the classical music scene, he studied at the “Musikhochschule Nürnberg-Augsburg” under Helmut Kagerer and Paolo Morello, and rounded it off with a stint in New York where he was a member of the “Bundesjugend Jazzorchester” and earned himself his first stripes as a sideman with Panzerballett, among others. Since then he has earned more stripes for “playing the Jazz Guitar of the Future” in classical Jazz guitar sets, together with the Night of Jazz Guitars and alongside various world stars. Also, his two grandiose Urban Jazz albums in the Jazz Rock genre, and his intimate “Duo” project with Chris Gall. Now his first “Trio” project is complete and the title “35” indicates that he’s referring what he’s achieved to date, as an “interim result”. Embedded in suite-like transitions, often created by his companions Henning Sieverts on bass and Jochen Rückert on drums, it is his most complex and mature album to date. A creative kaleidoscope thought through in every detail; the CD promises to be at least as much fun when experienced live.