Jazz at Berlin Philharmonic V: Lost Hero - Tears for Esbjörn

Jazz at Berlin Philharmonic XII - Sketches of MilesCD / Vinyl / digital Theo Croker Quartet: Theo Croker trumpet & leader Danny Grissett piano Joshua Ginsburg double bass Gregory Hutchinson drums Magnus Lindgren – conductor, tenor saxophone (on So What), flute (on All Blues) Members of the Berliner Philharmoniker: Michael Hasel & Egor Egorkin flute Matic Kuder, Andraž Golob & Manfred Preis clarinet Markus Weidmann bassoon Andrej Žust & Sarah Willis horn Guillaume Jehl, Lennard Czakaj & Marc Ullrich trumpet Olaf Ott, Thomas Richter* & Susann Ziegler* trombone Peter Kanya tuba Guest / Karajan-Akademie der Berliner Philharmoniker Among the legends of jazz, Louis Armstrong still stands out as the best known of them all, but Miles Davis also has his unique place: as the greatest genius and innovator the art form has ever known. Born in St. Louis in 1926, the trumpeter was not just an instantly recognizable figure, he was a visionary who repeatedly gave new, decisive impulses to modern jazz, starting in the early 1940s while still in his teens, when he was at the heart of the invention of bebop. Then, in 1949, he countered the heat of bebop with cool jazz. And when the groundbreaking recordings of this period were released on “Birth of the Cool“ as late as 1957, Miles Davis, together with the masterly arranger Gil Evans, was already anticipating the next mini-revolution: modal jazz. Between 1957 and 1959, three epoch-making albums in this idiom were produced in quick succession: “Miles Ahead”, “Milestones” and “Kind of Blue”, the last of which became the most successful jazz album of all time. At this time, Miles Davis, still in his early 30s, was still to take his art in yet more new directions with hard bop, fusion jazz and jazz rock. Davis also had an uncanny and unerring knack for identifying talent. Throughout his career, he consistently brought the very best up-and-coming musicians into his bands, people who frequently went on to become stars in their own right: John Coltrane, Sonny Rollins, Bill Evans, Wayne Shorter, Herbie Hancock, Tony Williams, Ron Carter, Keith Jarrett, Joe Zawinul and many more. By the time Miles Davis died in Santa Monica in 1991 at the age of just 65, he had become one of the most influential musicians of the 20th century. Miles Davis performed at the Philharmonie at the first Jazzfest Berlin in 1964, returning there as headliner a total of eight times. In memory of this lasting connection, and also to mark 30 years since Miles’ death, Siggi Loch, curator of the “Jazz at Berlin Philharmonic” series, devised a homage to this musical genius with “Sketches of Miles”. The spirit of Miles Davis was once again in the air on 27 November 2021 at the hallowed hall, where it palpably inspired and energized the participants in this unique concert. The Theo Croker Quartet and members of the Berlin Philharmonic Orchestra under the baton of Magnus Lindgren were clearly stepping into mighty shoes, and yet the tribute they produced to one of the great icons of jazz is constantly dazzling.As is the case for all of the “Jazz at Berlin Philharmonic” concerts, the line-up was a complete one-off. The first part of the programme focused on highlights from recordings by Miles Davis‘ band, whereas in the second, members of the Berlin Philharmonic joined the Theo Croker Quartet on stage to perform three suites from the orchestral albums, “Miles Ahead”, “Porgy and Bess” and “Sketches of Spain”. The arrangements were especially commissioned for the concert.  To take on the role of trumpeter in a Miles Davis tribute could be an unnerving experience, but not so for Theo Croker, who is consistently impressive. Born in Florida in 1985, he is now one of the most respected jazz musicians of his generation. The Süddeutsche Zeitung has called him a “visionary of post-hiphop jazz” and praised his “accomplished grasp of the entire history of African-American music.” Croker has many of the Miles Davis hallmarks, and the band behind him is excellent too: pianist Danny Grissett has been in Tom Harrell’s band since 2006 and also released six highly acclaimed albums as leader. Bassist Joshua Ginsburg has been a fixture on the New York jazz scene for almost two decades. Finally, 51-year-old Gregory Hutchinson, “the drummer of his generation” (Jazz Magazine), has played with almost all the greats of jazz. The members of the Berlin Philharmonic Orchestra, alongside their regular work as the “world’s greatest orchestra”, are always prepared to step into small ensemble combinations and to throw their energies into new musical adventures. Under Magnus Lindgren’s direction, and with the Theo Croker Quartet, we hear a resoundingly “symphonic” Miles Davis. The Swede has developed a speciality of jazz-meets-classical projects. He recently delved into the works of another of the greats of jazz: in “Bird Lives” with the SWR Big Band and John Beasley, he marked the Charlie Parker centenary. Here, in collaboration with his compatriot Hans Ek, best known as the creator of the E.S.T. Symphony, he excelled again in the role of arranger. “Sketches of Miles” was an evening which will echo and resonate for a long time. The Theo Croker Quartet, together with members of the Berlin Philharmonic and Magnus Lindgren didn’t only walk in the footsteps of a genius, they also left their own indelible imprint.Credits: Music arranged by Magnus Lindgren (Tracks 01, 03 & 04) and Hans Ek (Tracks 02 & 03) Curated and produced by Siggi Loch Live recording at Philharmonie Berlin, 27.11.2021 Recorded, mixed and mastered by Klaus Scheuermann Cover art by SHOSHU / ACT Art Collection

Jazz at Berlin Philharmonic XIII: Celebrating Mingus 100CD / digital Magnus Lindgren baritone saxophone, bass clarinet, leader & arranger Georg Breinschmid double bass, leader & arranger Tony Lakatos tenor saxophone Jakob Manz alto saxophone Matthias Schriefl trumpet Shannon Barnett trombone Gregory Hutchinson drums Danny Grissett piano Camille Bertault vocals The centenary of the birth of Charles Mingus, in April 2022, has served to reinforce his importance in twentieth century music. His “achievements surpass in historic and stylistic breadth those of any other major figure in jazz.” (New Grove Dictionary). Mingus could be angry, even violent, but also loving and tender, and all of these aspects of his complex character are reflected in his music. As he once said, “I'm trying to play the truth of what I am. The reason it's difficult is because I am changing all the time.” Extremes of emotion are the very truth and core of Mingus’s music, and they are reflected in the six compositions by him heard here, on “Jazz at Berlin Philharmonic – Mingus 100”. The concert was one of the main events marking the centenary and took place on 13 April 2022 in the concert series curated by Siggi Loch. This album is a live recording from that concert. At one level, it was ‘just’ a concert. There were no protests. No basses or chairs were deliberately broken. Nobody took a shotgun and aimed it at a lightbulb. And yet, as is clear from this recording, the nine musicians who appeared on stage at this concert – and who mostly did not know each other before this project – each threw her or his whole musical essence into this project, while staying true to Mingus’s spirit and to his unique way of expressing defiance and dissent. The first musical sounds to be heard on the album come from Austrian bassist Georg Breinschmid (b.1973). One of the co-leaders of the project, he juxtaposes forthright attack and caressing tenderness in the Mingus manner as his bass introduces Mingus’s “Jelly Roll”. “Georg is a wonderful communicator and one heck of a bassist,” says the other co-leader, Swedish reedsman Magnus Lindgren (b.1974). Breinschmid’s story is remarkable. Until the age of 25, he had follo-wed a traditional path. As a young, top-flight classical double bassist, he had already become a full member of the Vienna Philharmonic, a role carrying lifetime tenure. He then turned his back on that world, and has pursued his own way as a musician rooted in jazz and Viennese popular music ever since. His passion for Mingus came early, and has remained with him. “As a fourteen year-old just starting on the bass, I remember loving the sound, the compositions, the whole package. It comes at you from so many sides,” he says. Breinschmid and Magnus Lindgren had not worked together before, but their mutual understanding and respect grew as they did. “Magnus is a great musician!” says Breinschmid. “An amazing virtuoso multi-instrumentalist, an expert arranger – simply a great artist. He always keeps a sense of the whole ensemble in his eye, and of how it’s going to work best.” Lindgren, better known on higher winds and flute, is to be heard here mainly on his vintage Selmer baritone saxophone, and also on bass clarinet. Lindgren was also drawn to Mingus’s compositions early on, his involvement strengthened by a close collaboration with Steve Slagle, a guiding light of the Mingus Big Band in the 1990’s. As regards the Swede’s instrumentalist role here, he simply says: “I love Pepper Adams – and it’s fun to play baritone.” “When Charlie speaks of Lester...” It was Joni Mitchell who put English words to Mingus’s beautiful lament on the death of Lester Young, “Goodbye Pork Pie Hat” on her “Mingus” album. The context here is different, as is the language. Out of some Mingus-ian polyphonic chaos emerges the authoritative singing voice of French vocal star Camille Bertault. The words she has written evoke Charles Mingus’s feelings of loss. Then, magically, wordlessly her voice ascends, and when she holds her final note (E natural) for a full fifteen seconds, it is a jaw-dropping tour de force of poise and control. She is also responsible for new and teasingly enigmatic words for “Self-Portrait in Three Colours”. There are other strong voices here. Two Americans are at the strong beating heart of the band: pianist Danny Grissett has had nearly two decades at the top level of the New York scene and has been a member of the Mingus Big Band. Drummer Gregory Hutchinson has worked in countless contexts, not least the classic second Joshua Redman Quartet from 1998-2001; he is one of the greats of our time. There are also two musicians who have made Germany their home. Since moving from Hungary to Germany in 1980, tenor saxophonist Tony Lakatos has appeared on over 300 albums and was a major presence in the Frankfurt Radio Big Band until 2021. The strong tone and improvising fluency of Australian-born trombonist Shannon Barnett, now based in Cologne, also prove ideal in this context. The home team from Germany, trumpeter Matthias Schriefl and young star saxophonist Jakob Manz both play as if their very lives depend on it, and in such a way that all stereotypes about German order and discipline need to be promptly thrown out of the nearest window. This is utterly passionate music-making at a very high level. There can be few sounds as joyous as the performance of “Better Git It In Your Soul” which brings this recording to a close. The 2022 Mingus Centenary has resonated deeply: just as injustice, fear and uncertainty and the need to grieve surround us, so do instances of super-human kindness and visions of beauty. All these human emotions are there in Mingus’s music. Whereas Mingus’s ashes were entrusted to the River Ganges, his indomitable spirit truly came to life in an unforgettable concert in Berlin. Credits: All music composed by Charles Mingus arranged by Magnus Lindgren (02, 03, 05 & 06) and Georg Breinschmid (01 & 04) French lyrics for Goodbye Pork Pie Hat and Self-Portrait in Three Colors written by Camille Bertault Live at Philharmonie Berlin, Kammermusiksaal, 13.04.2022 Recorded, mixed and mastered by Klaus Scheuermann Curated and produced by Siggi Loch Cover art by Soshu

Jazz at Berlin Philharmonic X - East - WestCD / digital Majid Bekkas guembri & vocals Nguyên Lê e-guitar NES Nesrine vocals & cello Matthieu Saglio cello & vocals David Gadea percussion Black String Yoon Jeong Heo e-guitarGeomungo Jean Oh e-guitar Aram Lee / daegeum & yanggeum Min Wang Hwang ajaeng & janggu ‘East meets West’ was the central theme in the life of Nesuhi Ertegün (1917-1989). He grew up as the son of the Turkish Ambassador in Washington, and Nesuhi himself was to become an ambassador too: one of the most important producers and advocates that jazz has ever had. On the 30th anniversary of his death, Jazz at Berlin Philharmonic curator Siggi Loch dedicated an evening to commemorating this friend and mentor who had been like a father to him. For Nesuhi, jazz had no borders; this concert was a posthumous validation of the farsightedness of that vision. On the cultural world map, East-West today is synonymous with the tense relationship between Europe and Asia, between Occident and Orient. From the Renaissance to the present day, there have been repeated waves of enthusiasm for Eastern culture in the West. And for the hundred years or so that jazz has existed, it too has always tended to absorb elements from other cultures into its stylistic vocabulary. Conversely, artists from Eastern cultures have embraced jazz, fused it with their own traditions, revealing new and fascinating expressive possibilities. Black String, the South Korean quartet led by geomungo player Yoon Jeong Heo, takes a 1500-year old Korean musical tradition and brings it into the modern era and into jazz in way which is totally compelling artistically. NES Trio with charismatic singer/cellist Nesrine Belmokh has a distinctive sound drawn from the musical melting pot of the Mediterranean region. A special guest is the Moroccan oud and guembri player Majid Bekkas, who has often brought the Gnawa blues of his homeland into projects ranging from “folklore imaginaire” to avantgarde jazz. And providing the perfect East-West link is French-Vietnamese guitarist Nguyên Lê, whose go-between role combin-ing the worlds of jazz, rock and Asian folk music has been pio-neering. Together they celebrate a meeting of East and West. Nesui Ertegün would have been overjoyed. Credits: Recorded live in concert by Klaus Scheuermann at the Berlin Philharmonie (KMS), November 20, 2019 Mixed and mastered by Klaus Scheuermann Curated and produced by Siggi Loch Cover art by Philip Taaffe, Isfahan (2009), by courtesy of Jablonka Galerie Cologne

Jazz at Berlin Philharmonic IX - PannonicaCD / digital Iiro Rantala piano & leader Dan Berglund bass Anton Eger drums Angelika Niescier alto saxophone Ernie Watts tenor saxophone Charenée Wade vocals A single moment can change a life forever. That happened to the Jewish baroness and heiress Pannonica (Nica) de Koenigswarter (1913-1988), née Rothschild. On hearing Thelonious Monk’s ‘Round Midnight’ on a trip to New York at the beginning of the 1950s, she was so totally captivated by the music, she turned her back on her native Europe and on all the glamour of her previous existence, and became one of the great supporters of American jazz. Siggi Loch experienced a similarly decisive moment in his life when, at the age of just 15, he heard a concert by Sidney Bechet and decided that his life from then on would be dedicated to jazz. This decision had a profound effect not just on him, but also on the way this music has developed in Europe, most notably in the years since he founded ACT in 1992. So it was above all a feeling of affinity with Pannonica which inspired Siggi Loch to dedicate an entire evening to her in the “Jazz at Berlin Philharmonic” concert series which he has curated since 2012. The concert, on 6 February 2019, thirty years after her death, focused on pieces by the musicians whom the “Jazz Baroness” supported over many years with money, accommodation, advice and friendship, and who often dedicated compositions to her to express their gratitude: Thelonious Monk, Horace Silver, Bud Powell and Sonny Rollins. Musicians from five countries took part in the concert: Finnish pianist Iiro Rantala, a habitual unifier of the traditional and the modern, was directing. Alongside Swedish bassist Dan Berglund and Norwegian-born drummer Anton Eger, he formed the musical foundation. In addition, there were three outstanding soloists: American saxophonist Ernie Watts, who shared the stage with Thelonious Monk back in the pianist’s lifetime, German saxophonist Angelika Niescier and New York singer Charenée Wade. Together they do not only demonstrate magnificently that a single moment can indeed transform an individual life story, but also that such occurrences have the power to shine beyond the confines of continents, cultures and epochs.Credits: Recorded live in concert by Klaus Scheuermann, at the Berlin Philharmonie (KMS), February 6, 2019 Mixed and mastered by Klaus Scheuermann Curated and produced by Siggi Loch Produced by Siggi Loch

Jazz at Berlin Philharmonic VII - Piano NightCD / Vinyl / digital Leszek Możdżer piano, Fender Rhodes on Summertime Iiro Rantala piano Michael Wollny piano All three play Fender Rhodes, in turn, on La Fiesta “Three men, three pianos, one emotion – jazz”. These were the words with which German national TV news succinctly summed up the piano summit on 31st May 2016 in a sold-out main hall of the Berlin Philharmonie – a concert which can now be experienced exclusively on vinyl. And the TV news reporter continued: “Iiro Rantala, Leszek Możdżer, Michael Wollny. Each in a class of his own. Together, they’re a miracle”. Is there perhaps an element of déjà vu in this story? Yes, certainly. Because these were the same three jazz piano greats who had performed at the very first ‘Jazz at Berlin Philharmonic’ in December 2012, the event which triumphantly set in motion the concert series curated by Siggi Loch at the German capital city’s classical music shrine.Making this second appearance together were three of the most outstanding and established representatives of European jazz, each with a host of awards to their name. Możdżer, Rantala and Wollny are from a generation which mostly went through the rigours of classical study and therefore have a knowledge of that canon and tradition. Each of them has ventured from there into the freedom of jazz, and have not just loved it, but also thrived on it. They also grew up, almost inevitably, living and breathing rock and pop music. In other words, these are musicians who have garnered experiences in all genres and style, and who simply ‘make music’ that transcends technical barriers, and do it “in the spirit of jazz”, which puts them at one with the basic tenet of the ACT label. After more than a dozen ‘Jazz at Berlin Philharmonic‘ concerts – all of them completely sold out, with all three pianists returning, individually, from other formations – it was exciting to listen out for how the three had developed in the interim since that first concert together. Finnish pianist Iiro Rantala has been integrating completely new colours into his playing – “melodies full of clarity and beauty”, as the Stern, one of Germany’s leading magazines, described them, have become a focus for his artistry. The two solo albums ‘Lost Heroes’ (from 2011) and ‘My Working Class Hero’ (a tribute for what would have been the 75th birthday of John Lennon in 2015) finally gave him a major international profile. Artistic integrity, a respect for the power of melody and the freedom he has when soloing – Rantala brings all of these elements to the fore with total conviction in his composition ‘Freedom’.Michael Wollny has also found his artistic freedom – something he has worked towards for ten years. It was with ‘Weltentraum’ (2014) and ‘Nachtfahrten’ (2015), however, that word really started to get round that there was a quite exceptional pianist in Germany, a “complete master of the piano” (Frankfurter Allgemeine Zeitung, FAZ), a musician who seems to be able to find his own surprising solution to every kind of musical or aesthetic proposition. He certainly does that on this album in a duo with Iiro Rantala – ‘White Moon’, a composition by his most important early teacher Chris Beier, who was also the first to spot Wollny’s potential. There remains the Polish “phenomenon” (Süddeutsche Zeitung) Leszek Możdżer, who is the great romantic among European jazz pianists. His “filigree virtuosity with its light and shade is fascinating, hugely entertaining and nobody gets even close to what he can do as a craftsman of the contemporary piano” was the verdict of the German broadsheet FAZ. Możdżer’s ability to combine the simple with the difficult is something he demonstrates incomparably in the pictorial, almost filmic composition ‘She Said She Was A Painter’. The piano summit concert has its shape, its dramaturgy, building inexorably towards a grand finale with all three pianists on the stage together. First there is the soulful heat of Gershwin's ‘Summertime’, and then a wild ride through Chick Corea’s ‘La Fiesta’. It is in moments like these, as the pianists play their multi-dimensional games of pursuit and avoidance, that the true spirit of this concert series emerges. The thrill, the tingle and the danger of these exceptional live encounters are part of the jazz tradition, but have been updated to send a buzz of excitement around today’s technology-fixated audience. Iiro Rantala’s ‘Olé!’ at the end of this concert didn’t just resonate in the hall in Berlin at the moment of triumph. It is a powerful and durable expression of the effect of live music at its absolute best.Credits: Recorded live in concert at the Berlin Philharmonie May 31, 2016 Curated and produced by Siggi Loch Recorded and mastered by Klaus Scheuermann Mixed by Klaus Scheuermann & Bartek Kapłoński

Jazz at Berlin Philharmonic VIII - MediterraneoCD / digital Stefano Bollani piano Jesper Bodilsen bass Morten Lund drums Vincent Peirani accordion & accordina Members of the Berliner Philharmoniker Geir Lysne arranger & conductor To put the “Sound of Europe” on the big stage is the mission of “Jazz at Berlin Philharmonic” and of its curator Siggi Loch. Earlier concerts in the series – tracking down “Celtic Roots” or strolling through “Norwegian Woods” – have shown how the sheer plenitude of European music has left its mark on the jazz of our time. Many of the roots of European music are to be found in Italy. The country was an early hub for Western classical music, and was where opera was born. From Sicily up to Venice, all kinds of gloriously diverse and many-hued folk music heritages are nurtured. There is a nationwide tradition of the “cantautore”, and in film music, Italy sets the trend: Nino Rota's and Ennio Morricone's movie scores are known worldwide. “Mediterraneo” avails itself of this cornucopia of inspiration – and sets off on a journey of discovery. The 17th concert in the “Jazz at Berlin Philharmonic” series was a major event which took place in the sold-out main hall of the hallowed temple of classical music. The central figure of the evening is Stefano Bollani. This maestro of the jazz piano, born in Milan in 1972, is a figure of unrivalled prominence on the Italian jazz scene. His creative arc is uncommonly far-reaching. It ranges from working with senior figures like Lee Konitz, through luminaries like Chick Corea, Pat Metheny and, of course, his longtime partner Enrico Rava, French innovators such as Michel Portal and Martial Solal, and on to world music greats such as Caetano Veloso and Richard Galliano. So, for “Mediterraneo”, it was important for Bollani to cast his net wide, to shape an evening that would be full of variation and surprise; the Italian is not content just to perform for the audience, above all he wants to entertain them: alongside Monteverdi, Rota and Morricone, Puccini and Rossini, there was also the evergreen sixties pop song “Azzurro”, made famous by Adriano Celentano. Bollani emerged as the ideal travel guide for this Italian night. With his completely individual virtuosity and his enjoyment in playing, his Mediterranean ease and well-judged injections of humor, Bollani takes the listener on the Grand Tour through the music of his homeland. Right by his side an exceptional rhythm section with the two Danes: Jesper Bodilsen and Morten Lund, plus a star guest on the accordion, Vincent Peirani, and 14 intrepid members of the Berliner Philharmoniker. They don't just bring a cultured sound, they also prove refined improvisers. The Norwegian Geir Lysne wrote the arrangements for the concert, and also directs the musicians through this Italian night. He is an ideal partner for Bollani. They have already won an ECHO prize for their work with the NDR Bigband. Both are musicians who like to make discoveries and spring surprises. Lysne is an extremely deft experimenter in sound. He uses unusual instrumentation to bring a richness of timbre, and also brings tension and a unique feel for groove, placing musical material into wholly new and unexpected contexts. And then there is Vincent Peirani. Raised in Nice, the most visible face of young French jazz, the accordionist is a talented storyteller. He had already shone at the “Accordion Night” in the Berlin Philharmonie. This time, in his tightly meshed interplay with Bollani, he ensures that there is additional Mediterranean flair, and his cultured playing brings heart-stopping moments of excitement and surprise. The well-known themes by Ennio Morricone from the spaghetti western movies are kept aside for Peirani. They are showpieces for him at his absolute best. Bollani and Co. delivered utterly compelling passages of music, and touched the hearts of the audience. “Mediterraneo” wasn't just a unique musical occasion. It also proved a point: Europe has so much to offer.Credits: Recorded by Nanni Johansson live in concert at the Berlin Philharmonie, Großer Saal, June 12, 2017 Mixed by Klaus Scheuermann with Geir Lysne & Roberto Lioli Mastered by Klaus Scheuermann Curated and produced by Siggi Loch Cover art by Federico Herrero, Landscape, 2017 by permission of the artist and Sies + Höke, Düsseldorf

An exploration of the traces left by Celtic music on its journey from European music into jazz. In "Jazz at Berlin Philharmonic," curated by the Norwegian guitarist Knut Reiersrud, an illustrious group of exceptional musicians embarked on these musical paths.

Few European jazz pianists have been as influential in recent years as the Swedish musician Esbjörn Svensson, who tragically passed away in 2008. In varying lineups, moods, and interpretive approaches, Iiro Rantala, Viktoria Tolstoy, Ulf Wakenius, Lars Danielsson, and Morten Lund pay tribute to some of Svensson's most well-known compositions from his trio, e.s.t., on "Jazz at Berlin Philharmonic." And when the album title "Tears for Esbjörn" is fulfilled with Svensson's perhaps most emotionally charged composition, "Love is Real," no one needs to be ashamed. Neither for tears of sorrow over the irreplaceable loss of Esbjörn Svensson nor for tears of joy over the music he left us.

"Jazz at Berlin Philharmonic" puts the program in the spotlight. In the always sold-out concert series at the Kammermusiksaal, curator Siggi Loch aims to bring together previously unheard combinations of musicians under a thematic focus. On February 13, 2015, the accordion took center stage...

Together, Możdżer & Friends conjure up a celebrated concert evening that once again demonstrates that the blend of jazz, classical, and folk music provides important impulses for the future of European jazz, with Poland, with Możdżer at the piano, playing a significant role in it.

It was another one of those evenings of magical moments that the "Jazz at Berlin Philharmonic" series curated by Siggi Loch is so sure to generate. Knut Reiersrud, Solveig Slettahjell, Bugge Wesseltoft, Morten Qvenild and his trio In The Country demonstrate, as if under a burning glass, the reasons for the almost uncanny success of Norwegian jazz: a return to its own roots, i.e. Norwegian folk music and classical music.

The acclaimed premiere of "Jazz at Berlin Philharmonic" with Iiro Rantala, Leszek Możdżer and Michael Wollny as a live recording: "Jazz and classical music at eye level with rarity value for Berlin" (Tagesspiegel). "That was great, not to say world class" (ZDF).