It was a long trip of nearly 300 km from Braunschweig to Neuhardenberg, but it was worth every single kilometer. Some months ago I ordered tickets for this event, because it seemed to me so unusual, that I just needed to take part in it. (I even did not realize how far it is to go).

Anyway: yesterday we startet early, planned to spend some time looking around Neuhardenberg and to see something of that unknown place. I have never been before in that region of Germany, generally I stop at Berlin and stay. And now moving on direction Poland. The area seems to be something out of nowhere – just straight scenec avenues, interrupted by small villages from time to time.

But I want to talk about music.

Schinkelkirche is a small, nonspectacular church constructed by Karl Friedrich Schinkel. Inside it looks very reduced, very evangelic. It has an atmosphere of  deep concentration. And no hints about its acoustic.

Branford Marsalis is in time, appears on a little podium with his three Saxophones. No words, he immediately starts playing. No microphone, no tecnical devices, just some spots of coloured light. And from the first tone I know: this will be something very very special. The church needs no technique. The sound is full, abolutely clear, very present. Branford plays slow, generally he performs his album “In my solitude“. Some classical pieces are there, some Improvisations, some blues traditionals. And as he is alone on stage, there is just pure saxophone sound. He changes from soprano to tenor to alt. Each instrument he plays of course perfect, the sound is warm and full and amazingly complex. He does not speed up, plays like listening to himself, waits with long pauses and continues. Sometimes there is the idea of some rhythm, when he does the Blues, but mostly he turns back to classical music or soft, long improvisations. The small church is sold out, of course, about 150 people might have found a seat. Their applause after each piece is warm and grateful.

Yes, there was an atmosphere of gratefulness in that church that evening. Grateful to share such an evening with such an extraordinary musician. Branford Marsalis is not a wild guy, he does not do crazy things with his instruments, but his technical abilities are far beyond any discussion. And he performs in so many styles of music. Of course Jazz, modern and traditional, then also classic and his improvisation somehow inbetween. Maybe his perfection is for some people a bit boring and too cool – the way he lives music is just inspiring to me.

In Neuhardenberg he stops after one hour, 20 minutes later he returns and continues. And he speaks! Some words about himelf, about some problems with his instruments – that’s it. Just music. (And some problems with his reeds. He changes them all the time, no one seems to be ok to him). Near the finish he does “Blues for one” and his encore is “When the saints” is a popular, quite pushing version. That’s it. He disappears fast, people wait for him some time, then go into the night – with the feeling of having seen and heart something extraordinary.

On the way back to Braunschweig I thought about this place: Stiftung Schloss Neuhardenberg. It is a nicely restored ensemble of Schloss, Hotel, Park and some additional buildings with a superb cultural program. Must be good to spend some days there just doing nothing.

It was not allowed to take pictures, so I could just do some photos of very bad quality. Who cares.



Oh, they were great. I was so happy, that I did this hard way to Wolfsburg to listen to them.
Because Deutsche Bahn made this concert really a challenge. I wanted to go by train from Braunschweig to Wolfsburg at 19.24h – but: no train coming. Everything with delay this evening. First they annonced 15 minutes, then 30, then 50.
Unbelievable for a good German company. But anyway. I decides to stay and to go whatever there will be. And I did not regret this decision.

When I arrived, concert at Zeithaus in Autostadt has of course started. But no problem. The atmosphere was great, and with a glass of cold white wine it became even more great. The stunning location with cars hanging turned around over the the heads of musicians and audience, had an inspiring impact (the festival takes place in a car city sponsored and organized by Volkswagen – so there are cars naturally everywhere).

I did not know the Joshua Redman Trio before. They are bass, drums and saxophone, they are black, smart, good looking, well dressed and have an intellectual appearance. They play as they look: cool, smart, sometimes hot, with good, well balanced emotions. Joshua Redman as the head of the group is just perfect. No matter if he plays Beethoven or Sonny Rollins – all is done with soul, empathy and amazing technical skills. Sometimes it is just too perfect, sometimes I waited for a little misttake or something a little dirty – but this seems to be impossible around this man. Same thing about his fellow musicians Reuben Rogers (Bass) and Gregory Hutchinson (drums). So cool, so close to perfection.

The audience loved them. Strong applause for each solo, enthusiasm whem they finished. Of course they had to come back on stage twice.

Great show, great musicians, great concert and a marvellous start of movimentos festival.


PauliAfter long long time finally another great victory at Millerntor stadium. 4:0 against Düsseldorf and we need this 3 points so badly. Now we are 16th, still not enough to stay next season in second division. And the matches to the end of this season are mostly pretty tought. But anyway, the boys have spirit and drive and they can do it.

Biggest surprise: newcomer Choi, who scored twice within the first 16 minutes.

Manager Ewald Lienen had a good eye on this guy. Next time: Karlsruhe, then Nürnberg at home.


Just a minute of bad mood: I realize, that I did not play anything for about one week.

Life is not good without doing some music. Must change.

Generally I do not trust in rememberance concerts.

But as Braunschweig bass player Jürgen Osterloh invited me, and as “Baßgeige” is just opposite to my flat I had to go (I would have done anyway, because I like very much nearly everything Jürgen does with his music).

Baßgeige is a legendary place in Braunschweig. Actually it is just a pub which most urgently might need a renovation, but it is full of character and Jazz music and there is Bolle, the owner, known by everybody who has anything to do with music in town. Small stage, space for about 100 people, no chance for fresh air – not imaginable how it was in times when smoking was allowed.

The concert was dedicated to Udo Dammann, a local gitar player and teacher, who died 15 years ago and who must have been someone most impressive. There were some very emotional and touching speeches at the beginning. Bolle talked about the very early times, some in the audience could also remeber. Udo’s family was present.


Then the Osterloh group began to play – and it was one of the best concerts I have seen for a long long time. Maybe it was because everything was so narrow and non convenient, maybe there was a special spirit because of Udo Dammann, maybe the musicians were just in good mood and felt inspired. All of them were brilliant, they played pieces written by all members of the band but also classical stuff. It was soft and lyrical but also with groove and going forward, sometimes traditional, sometimes more powerful. My favourite of the first set: Miles Davis’ “All blues”.

Man of the match was Lars Stoermer, sax and bassclarinet. He is an animal on stage, such a clear, deep sound and so much on the point. And he went on and on and on. Great duets with drummer Raphael Becker-Foss. Jan Behrens on piano good and precise like always, Jürgen with some great Solos and guitar player Andreas Dahle more in the background, but absolutely present.

The audience went nearly wild – they played from 8 til 11 with one break and could have done so much more.

A great evening at a very special Braunschweig place. thank you for that.

One of the best events of Burghausen Jazz festival is Jazznight, usually the last evening/night of a week full of music. The concept is simple: music everywhere. And so there play very different bands at some quite unusual places. You pay 20 Euro once and can walk all night through the old city and jump in and listen.

The stages go from beer houses to restaurants to cafés, the audience is all mixed up, general mood is party party party.

There was:
Jazzmo Swing ‘n’ Dixie at Augustiner am Stadtplatz
Al Jones Bluesband at Bayerischer Hof (very good Blues music)
Bun-Jon & The Big Five at Porto Cervo (an Italian restaurant)
Makia at Herzog-Georg-Stub’n
The Wild Bluesmen at Café am Bichl
Siergiei Wowkotrub Gypsy Swing Quartet at Cabaret des Grauens
The Funky Tenors at Salzburger Hof (with Heiko Jung playing 6-string-bass)
Lafayette Harris Trio at Jazzkeller im Mautnerschloss.

I liked them all and here are some fast pictures.

night_30s night_blues night_kuba night_funk night_bichl

What an evening! And everything had been short to going all wrong.

Because I was sure the announced concert would take place at Wacker Halle, as I was used to go all the years before. But when I looked at my tickets I fortunately realized that the place of interest ist town hall. By checking out I saw it is located exactly opposite to my hotel and it is certainly one f the most beautiful buildings in whole Burghausen.

Good luck!

A wonderful historic theatre room of mybe medieval times with great atmosphere. I loved it from the first moment. About 500 to 600 people go inside, of course it was sold out. Wollny and Sauer did the first take. They were announced as traditional Jazz musicians with a calm meditative style (and Get the blessing were said to be more for a younger audience – what a nonsense, by the way). The two musicians appeared and just began. Heinz Sauer said some words, like: “We do improvisations. We do not know what will happen, We rust in the moment and in the place and the audience.” He is 83, he was ddressed like a man of maybe 25, and he appeared so impressive how he looked and watched and listened to Wollny and to the inspiration.

Michael Wollny is a wizzard. He is 26, but he plays piano like an old master. Always moving, his feet never never still, his head going deep to his fingers, it is just a show to watch him. He gives the lead, Heinz Sauer listens and then jumps in. His tenor is not only a tenor, it is a flute, a scratching instrument, a voice, anything. Tones and tunes come slow, clear and with big big emphasis. Highest intensity. I sat on my chair and just could not breathe. Long time ago to feel such an atmosphere in a concert.

They played mostly like on their live album “Don’t explain” (a wonderful thing and a must to buy). All blues, Nothing compares to you, classical stuff.

People did not want to let them go. The regular concert finished after some more than one hour, but they had to come back four times and they could have come many many more times. Their last song was a tribute to Billie Holiday’s 100 birthday. “Don’t explain”. Great emotions. Big applause.

Wollny_Sauer1 Wollny_Sauer

After a short pause Get the blessing entered the stage. Four Englishmen, drums, bass, Sax, trumpet, in black suits. Best british Jazz. Entertaining, perfect rhythm, perfect tunes. Their pieses based an say and trumpet tunes, they had a rocking attitude but they always came back to more calm and quiet tune. Quite atmospheric and narrative – and funny. The bass player, who did the speeches never forgot a joke – I liked best one about Albert Einstein, who refused to talk as a child (no, I will not write it down here). It was swinging, it was nice to hear, but – I was not touched. To my taste they played too much with their electronic helpers, the trumpet player was lots of time doing something between his feet. Not my business. I want to see and hear them doing their instruments.

But, no stupid criticism here: they were good and it was a very special evening worth any effort.

And the best: It was not finished at all. Jazz night just began short before midnight. Some say, it is best of Burghausen, they might be right. I’ll write about it tomorrow.



Sorry,photos are quite lousy, just what is possible with an Ipad somewhere among the audience.

After two years interruption back in Burghausen for Jazz week. Felt like coming home, everything so familiar, so well known. Jazz week nearly not seems to change, same procedure than every year, for 46 times now.
I arrived at the final weekend, 21st of March. With tickets for the dance night at GUM starting at 11 pm.

Incognito were announced.

GUM is a discothek, nothing more, nothing less. Long bar, a stage, a dance floor.

Incognito arrived in time, a speaker talked about lots of difficulties to bring them to Burghausen (Generally this place is far becond from everything – Munich is 140 km away, Salzburg about 60 km). Anyway, the came on stage, ten people, with brass sectio, 3 singers, everything necessary. Their sound: so well known, they played that funky dancing music you expect from them. Nothing more, nothing less. Sound was quite terrible due to that place, but it was ok anyway.Everybody loved to dance, everybody just wanted to feel happy.

Jean-Paul „Bluey“ Maunick, the founder and guitar player told some nice stories out of the band’s history – there are certainly some if a band exist for 34 years now. After One and a half hour it was enough. The band still had a good energy, but it seemed to me more routine and and experience. And as I felt rather tired, it was good to stop.

A final drink at “Yves”, the nice cafe/bar/restaurant at Altstadt, then finito for the first evening.


Coming tuesday one of my favourite Jazz festivals begins: Jazzwoche Burghausen. Burghausen is a small bavarian city located exactly at the German-Austrian border (so quite scenic just because of this). There exists an extremely engaged IG Jazz, that succeeds every year to create a lineup  absolutely comparable to much bigger festivals with much bigger money. Why this? There are people who love the music and they do their job for more than 40 years now. Musicians remember this and like to play here. They have a long, long list of Jazz Giants who used to play here.

Of course there are sponsors and spenders. The local “Wacker Chemie” helps a lot and bavarian TV station BR records every concert and broadcasts them one by one.

This year they have beside others Rebekka Bakken, Spyro Gyra, Monty Alexander on the list. Here is the whole program.

I’ll be there from Friday to Sunday and I have tickets for the dance night with Incognito and a double concert performing Get the blessing and Heinz Sauer/Michael Wollny. This second evening is without doubt one of the highlights. Since I bought their record “Don’t explain” Sauer/Wollny is my favourite Duett. The 83 years old Tenor say player Heinz Sauer is a giant, what he does on his instrument is still unique. And beside him the 26 years old pianist Michal Wollny, who is one of the most exciting musician of his generation. I never saw Sauer on stage yet, Wollny I have heart several times (last at Wolfsburg Jazz festival 2014), he plays furious, technically perfect, with a big big inspiration and beside that he still looks like a teenage boy. Just amazing.
Get the blessing I saw years ago at “Unterfahrt” Jazz club in Munich (the photo of the start page of this blog shows them). Their head was (is?) a saxophone hero, sending out lots and lots of energy. I still remember his show very well.

The evening before: Incognito. No need to introduce them. Dancing evening. That’s one special about this festival: They do many events beside the concerts. There are workshops, a competition of upcoming bands, there are these dancing evenings and small club concerts. All in all a very familiar atmosphere with nice people around you, very very good bavarian food and a great landscape. Perfect mixture to welcome spring time.


PauliEinmal im Jahr besucht mich mein Verein (na ja, fast). Das war in München so und das ist jetzt in Braunschweig wieder so. Gestern, am 7. März, war es wieder soweit. Mit einer üblen Ausgangskonstellation: Pauli Letzter, braucht jeden Punkt, Braunschweig mit Kontakt zu den Aufstiegsplätzen aber mit zuletzt zwei Niederlagen, muss dringend wieder siegen.

In der Redaktion reichlich Häme. Das Spiel war praktisch vor dem Anpfiff schon durch. Und ich habe mir ja selbst ehrlicherweise nicht allzu viel ausgerechnet.

Und dann: Ein 2:0 Auswärtssieg. Bisschen glücklich, aber überhaupt nicht unverdient. Der BTSV war so grottenschlecht, ich glaube, die hatten im ganzen Spiel vielleicht eine halbe Chance. Pauli rustikal, viele Fouls am Anfang und Glück mit einem schwachen Schiri, der erst reichlich spät die Gelbe zog.

Und einer coolen Chancenverwertung: Zweimal Standard (Ecke, bzw. Freistoß), zweimal Kopf, zweimal drin. Vielmehr Chancen gab’s auch nicht, brauchte auch niemand. Das zweite Tor fiel so in der 60sten, danach war bei der Eintracht die Luft raus. Sie kamen zwar, und ich hatte zwischendurch immer Angst vor einem plötzlichen Anschlusstreffer, aber da war einfach nix. Und ab der 70sten gingen auch die Zuschauer massenhaft. Wie gesagt: Das Spiel war im Kopf schon vor dem Anpfiff gewonnen, da nagt die Enttäuschung besonders hart.

Bei den Hamburgern – es waren reichlich Paulianer im Stadion – natürlich große Stimmung. Ich bin mit dem Rad noch an einigen Fahrgemeinschaften vorbeigekommen, die auf diversen Parkplätzen vor der Rückfahrt erst mal ein Sieger-Astra einwarfen. Gute Laune, gutes Wetter, drei Punkte, jetzt heißt es “#Klassenerhalt”. Letzter sind wir schon mal nicht mehr, das ist Ahlen, aber mit 21 Punkten ist noch nichts gerissen.

Und hier noch eine Youtube-Perle entstanden auf einem Autobahnparkplatz auf der Rückfahrt.


Das 2:0 nach einem Freistoß – ich hatte zufällich das Tablet im Anschlag.


Nach dem Spiel in der Kurve.

“Pool Jazz” wollten sie bieten, verkündete Pianist Florian Hoefner bei seiner ersten Ansage. Auftritte in einem Schwimmbad, genauer: am Rande des Nichtschwimmerbeckens, hätten er und seine Gruppe auch noch nicht gehabt. Das Wolfsburger Hallenbad ist schon ein besonderer Auftritts-Ort mit dem Drei-Meter-Sprungturm als dokorativen Hintergrund. Die Akustik ist ganz anders als in den üblichen Jazzkellern und -bühnen. Es ist halt eine ehemalige Schwimmhalle und da kanns schnell mal scheppern und hallen.

Anhang 1

Aber kein Problem für die vier New Yorker Jungs. Neben dem Franken Florian Hoefner sind das Matt Marantz (ts) aus Dallas/Texas, Sam Anning (b) aus Australien und der Salzburger Peter Kronreif am Schlagzeug. Sie beginnen sehr gedämpft und ruhig und diesen Grundton halten sie (leider) das ganze Konzert über durch. Das Tenorsaxophon hat einen unglaublich voluminösen Klang in dieser Umgebung, aber Herr Marantz spielt es schon sehr piano. Schöne Läufe, klare Intonation, alles super, aber zwischendurch habe ich drauf gewartet, dass er mal losgeht. Tat er leider nicht.

Man merkte dem Quartett an, dass es sein Programm runtergedimmt hatte auf Hallenbad-Kompatibilität. Das war ok, sogar sehr ok, weil da vier Profis am Werk waren, aber ein bisserl mehr Risiko wäre schon drin gewesen.

Die Stücke flossen so dahin, teilweise sehr elegisch, – schön und immer passend die diversen Bass-Soli. Schlagzeuger Peter Kronreif hantierte meistens mit den Besen – auch dass passte, aber es war auf Dauer schon sehr die Handbremse drin.

Gut, Florian Hoefner macht keinen Funk, aber es gibt ja auch anderes. Dass sie auch Tempo aufnehmen können, bewiesen sie kurz vor der Pause, und das Publikum in der völlig ausverkauften Halle reagierte sofort mit lautstarkem Beifall. Natürlich kam das Beste ganz zum Schluss: Eine Bearbeitung von “Eleanor Rigby”, den gut abgehangenen Beatles-Klassiker. Aus der Abteilung hätte es gern mehr sein dürfen.

Zwei CDs hat die Gruppe bisher rausgebracht und damit viel Beachtung gefunden: 2012 das Debut “Sings without words”, ein Jahr später “Falling up”. Moderner Jazz, gut anzuhören, nicht verstörend oder nervend.

Klare Empfehlung für den ruhigen Abend zu Hause.

Ein Wort noch zu WOB: Ich bin das erste Mal für ein Konzert hingefahren. Mit dem Bus Linie 230. Dauert ‘ne knappe Stunde, ist für 5,30 Euro absolut ok. Kostet eben ein bisschen Zeit, nehme ich mir was zu Lesen mit. Das werden wir öfter unternehmen, Wolfsburg ist kulturmäßig gar nicht so falsch. Die haben halt Geld und können was anbieten. Bald steht ja sowieso Movimentos an.

Anhang 3


TicketsMovimentos rückt langsam näher und ich habe schon zwei Konzerte fest gebucht: Joshua Redman Trio am 10. April und Ibrahim Maalouf am 1. Mai. Kann nur gut werden.

Aber vorher besucht mich noch mein Herzensverein aus Hamburg. Samstag, 7. März hier bei der Eintracht. St. Pauli braucht wirklich jeden Punkt und den Braunschweigern geht es nicht wirklich gut. Wird eine Zittergeschichte werden. Aber Ewald wird’s schon irgendwie richten. Forza Millerntor!

Und dann ist da ja noch Burghausen. Mit dem Hammer-Konzert Heinz Sauer/Michael Wollny am 21. März – dabei auch Get the blessing (kenn ich aus der Unterfahrt: just great). Aber dazu demnächst mehr.

Gerade zurück von der Unterrichtsstunde. Ein neues Stück, David Sanborn snakes“, geschrieben von Marcus Miller. Hach! Dieser Funk. Dieser Offbeat. Es geht so richtig in die Beine.
Jetzt das Stück hören, die Playalong, mitzählen, ein Gefühl für die Improvisation bekommen. Ich freu mich schon auf meinen Übungsraum.


Vier Posaunen und sonst nix. (Kein Saxophon, ausnahmsweise, das war aber diesmal egal). Local hero Nils Wogram und seine drei Bandkollegen aus der Schweiz heißen Vertigo, sind außergewöhnlich und wissen, was sie können.
Der Rote Saal im Schloss ist voll (mit ca. 200 Menschen) und bietet der Combo ein Heimspiel. Vom ersten Stück an mehr als wohlwollende Unterstützung für (neben Wogram) Andreas Tschopp, Bernhard Bamert, Jan Schreiner.

Sie spielen unter anderem Stücke ihrer CD “developing good habits” (schöner Titel).

Vier Posaunen, damit kann man eine Menge anstellen. Die Stücke sind jazzig, teilweise experimentell, es quietscht, es wispert, es rauscht. Und dann taucht so was wie Rhythmus auf. Gut anzuhören, kein atonales Getute. Die vier haben Spaß, das ist zu sehen und zu hören und kommt rüber. Nach jedem Stück heftiger Applaus, Begeisterung. In der Pause der übliche CD-Verkauf.

Jan Schreiner, Bass-Posaunist und Tubist, Gründer der Band, beeindruckt am meisten. Nicht nur durch sein Spiel – das beherrschen alle vier – sondern auch durch launige Ansagen und Erläuterungen zum Entstehen der Stücke. “Wichtigtuer-Schmonzette”, “Filterkaffee”, “Unknowing Professor” – witzig sind sie.

Nach zwei Stunden: Applaus, Applaus, Applaus. Eine Zugabe. Schönes Ding.

Und hier noch eine richtig fundierte Kritik der Frankfurter Rundschau zu dem angesprochenen Album und zum Posaunenspiel überhaupt.


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