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Alexander von Schlippenbach: Jazz Now!

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The CD of Alexander von Schlippenbach is the fourth publication in the “European Jazz Legends” series. We from Jazz thing are very proud of this and would like to thank all partners and especially the musicians – and hope that you enjoy this new series.

When Alexander von Schlippenbach debuted his composition “Globe Unity” and the orchestra of the same name at the Berliner Jazztage on November 3rd 1966, the mainstream press was not sure whether to find the result radical or ridiculous: “Witches cauldron” or “Male prank in the Philharmonie” read the headlines the next day. „Back then you could shock people with music, which is not really possible anymore today”, notes the now 77 year old. “But that is not what it is about anyways.”

With a Berlin based ensemble featuring Antonio Borghini on double bass, Heinrich Köbberling on drums and Rudi Mahall on bass clarinet – musicians around thirty to forty years his junior – the pianist and composer offered his current musical concepts during a celebrated concert at the Theater Gütersloh on October 3rd 2015; the audience witnessed a compelling and challenging program of up to date improvisations and (Pre-)Bebop-compositions by Herbie Nichols, Thelonious Monk, and Eric Dolphy. “Free Jazz to me was not necessarily something revolutionary or volitional, but rather a logical music-historical development”, the Count said during the interview for Jazz thing’s series “European Jazz Legends” leading up to this concert. This time the press lauded the fact that “the music of the pianist from Berlin is not about going the easy route, the one aimed at pleasing everybody, and reproducing something that had been done before.” The headline? “Improvisation till ecstasy.”

Release date: January 2016

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Homepage: www.avschlippenbach.com

Joe Haider Jazz Orchestra: Keep It Dark

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Music determines the existence of the Darmstädt native more than anything else. It has always been a driving force, lifeblood, emotional sponge, companion, lover, excuse and articulation possibility all at the same time for him, always present, in good and bad days. Haider has concluded a pact for life with it, from the day when he decided to commit himself to jazz wholly with body and soul. If this American cultural import has a quite unique sound in German-speaking countries today, this is also due to someone like him. As house pianist in the legendary jazz club "domicile" in Munich in the late 1960s and early 1970s, Joe met all the big names in international jazz as well as those who had brilliant ideas: Nathan Davis, Booker Ervin, Benny Bailey, Johnny Griffin, Philly Joe Jones, Joe Newman, Klaus Doldinger, Leo Wright, Peter Trunk, Dusko Goykovich, Pierre Favre, Klaus Weiss, Don Menza, Manfred Schoof, Mark Murphy and Hans Koller. Despite a career that more resembled a roller coaster and a market for recorded music, which increasingly pandered to the laws of commercial success, he repeatedly released records of downright admirable constancy and consistency. However, his contributions to the training of talented jazz musicians are almost to be assessed as more valuable. In 1974, Joe Haider founded the Munich Jazz School in Munich, and he directed the Swiss Jazz School in Bern from 1984 to 1995 in his adopted home of Switzerland. He gathered a myriad of talented musicians around him everywhere to teach them what he had learned from others.

Release date: January 2016

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Homepage: www.joehaider.ch

Tamara Lukasheva Quartett: Patchwork Of Time

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Where the air in the room normally becomes thin, she throws open all windows with amazing courage. She succeeds on one hand because she does not leave anything to chance, but instead follows a detailed motif that requires a strict and wisely planned development and yet surprisingly creates a lot of room for solo excursions. On the other hand, she succeeds because the band with Sebastian Scobel (piano), Jakob Kuhn (bass) and Dominik Mahnig (drums)—all friends from the Cologne University of Music as well as the guest musicians Shannon Barnet (trombone) and Liora Rips (violin)—fit in perfectly in the sense of the leader. The band already won The Young German Jazz Award in Osnabrück in 2014, and they also won second place at the "Keep an Eye Jazz Award" in Amsterdam in 2015. These are not the only distinctions that Tamara Lukasheva can call her own. She won first prize at the Master-Jam-Fest in Odessa in 2013 as well as at Finsterwald Jazz/Pop Contest in 2012 and the international competition "Voicingers" in Poland in 2011. There were also great reviews for "Matria", her duo CD with trumpet player Matthias Schriefl in 2015, where she remained faithful to her philosophy of wonderful non-conformism in every note.

Release date: January 2016

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Homepage: www.tamaralukasheva.com

Enrico Pieranunzi: Tales From The Unexpected - Live at Theater Gütersloh

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Die CD von Enrico Pieranunzi ist bereits die dritte Veröffentlichung der „European Jazz Legends“-Reihe. Wir von Intuition sind stolz darauf, unseren Beitrag leisten zu können und danken allen Partnern und ins¬besondere den Musikern – und hoffen, dass sie den Hörern, die nicht live dabei sein konnten, Freude be¬reitet. Und denen, die im Publikum saßen, eine schöne Erinnerung darstellt.

„Präsenz ist mir sehr wichtig“ sagte Enrico Pieranunzi in seinem Interview für die Reihe „European Jazz Legends“ des Magazins „Jazz thing“. “Theaterdirektor Peter Brook spricht vom ‚sich entleeren‘ vor einem Auftritt. Man muss ‚geleert‘ sein, wenn man sich oder an-deren zuhören will – um dann den Augenblick auch wirklich und intensiv erleben zu kön-nen. Das ist für mich auch die Hauptsache im Jazz.“ Geboren in der italienischen Haupt-stadt Rom am 5. Dezember 1949, entwickelte er schon früh die Liebe zum Jazz. Er hörte die Platten seines Vaters und spielte sie nach: Charlie Parker, Lee Konitz, Lennie Tristano, Chet Baker. Mit letzterem hat Pieranunzi dann schließlich auch selbst gespielt. Ab den frühen 80er Jahren nahm er in Italien selbst Platten auf, wobei er seine Einflüsse von McCoy Tyner und Chick Corea langsam in Richtung Bill Evans verschob. Dies, zusammen mit seinem Verständnis von Swing und dem ausdrucksvollen, lyrischen Charakter seiner Spielweise, machten ihn international bekannt: als einzigartige und dezidiert europäische Stimme an seinem Instrument. Seine mehr als siebzig Aufnahmen wurden mit Preisen ausgezeichnet und von den Kritikern mit viel Lob bedacht.

Release date: November 2015

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Homepage: www.enricopieranunzi.it

Yara Linss: Samambaia

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Her senses sharpened and open to all styles: this is how Yara Lambert presents herself as the 60th protagonist of "Jazz Thing Next Generation". As a result, she is symbolic for the global appeal of the young German jazz, which is nourished from the cultural roots of many countries and continents. The 35-year-old is a very versatile and fascinating artist, who returns to her roots with "Samambaia" without denying her current situation. In addition to her own lyrics, Yara Linss sets poems to music such as from the Brazilian poet Maria Lúcia dal Farra in the title track and "Céu" from the Polish Literature Nobel Prize winner Wislawa Szymborska. In addition, popular Brazilian pieces such as Chico Buarques' "Partido Alto", wonderful stories of her congenial co-musician João Luis Nogueira such as "Xote da maestrina", in which a simple drum player falls in love with an unattainable, pretty conductor, and the singing of a seafarer in "Sou marinheira": "A sound calls me, the winds carry me away, where, I don't know, the goal is law . . . .”

Release date: November 2015

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Homepage: www.yaralinss.com