Siggi Loch, who will be seventy-five on August 6th 2015 has a breadth of experience in the music sector that very few can match. From the nineteen-sixties onwards, those formative days for the modern record industry, his career path rapidly became a giddying ascent. In his first job, the callow twenty-year old recruit was a rep in specialist foreign sales at EMI Electrola. After two years he was approached to become label manager at Philips in Hamburg, where his career as a producer, working with Klaus Doldinger, also started. At the age of just 26, having become the youngest label manager in the world at that time, he was appointed as business manager for the new Liberty Germany company in Munich. In 1972 there followed his appointment as boss of the German business of WEA (Warner-Elektra-Atlantic), and then in 1982 as head of WEA Europe (Warner) in London. That made him one of the top managers in the international record business. Loch owed this meteoric rise to his inexhaustible enthusiasm, combined with an ability to spot the talent and to predict the trends in pop music. But the key to it all was his love of jazz. As a fifteen year old, Loch had managed to slip in to a concert by Sidney Bechet, and that experience was to mark him for life. In his teenage years he initially tried to make it as a drummer, but had the self-awareness to recognize that he didn‘t have the talent to succeed as a professional musician. But jazz was always there in the background, and the dream to start his own jazz label would be the driving force spurring him on. Despite the fact that the direction of his career as a music manager for its first three decades would be determined by significant discoveries - Katja Ebstein, Can, Amon Düül II, Jürgen Drews, Marius Müller Westernhagen, Heinz Rudolf Kunze, Helen Schneider and Ideal – he never lost his sense of devotion to jazz: the careers of Klaus Doldinger, Jean-Luc Ponty, Al Jarreau, Joachim Kühn and Philip Catherine were forged with the support of Siggi Loch. He had been at Warner eighteen years when his boss and mentor Nesuhi Ertegün, the legendary Atlantic jazz producer, stood down as WEA chairman. Loch, who now knew the music business inside-out, took his cue to abandon a lucrative managerial position, and finally to turn the dream of his youth into a reality. In 1992 ACT was born as a jazz label. Nowadays, it is a highly-regarded player on the international jazz scene and, by Loch‘s own admission, this most recent period represents the most important segment of his professional life.