You should be able to trust the opinion of a man, who has not only shaped the world of Jazz on and off the stage but who has also, as a producer, propelled Michael Jackson “The King of Pop“ to fame. Quincy Jones says about Laura, “This young woman doesn‘t need to worry about her career, she is amazing and I am sure we will be hearing more from her in the future.“ When they met for the first time at the Stuttgart Jazz Open in 2017, what appeared to be a prophecy about the 21 year old singer Laura Kipp, has today been confirmed. She has launched her debut album “Quiet Land“ under the Label LAURA. This debut album is a showcase introducing us to her talents. Despite there being many excellent Jazz musicians out there today, who span a wide range of music genre and styles, it is rare and surprising to find such a charismatic and understated maturity beneath such refreshing youthfulness. She also expresses the freedom and complexity of Jazz together with the instant emotional power of Pop, Soul and Chanson.
The opposing elements that she draws on really create a certain tension while also blending them beautifully. As a hardened Jazz Critic who has heard and seen hundreds of singers over the years, it unfortunately becomes harder and harder to impress . However, Laura Kipp doesn‘t fail to impress from the outset. Despite her age she is so mature, well travelled and charismatic and this comes across in her voice. Her far reaching travels from her homeland in Swabia Germany to Paris, from New York to Los Angeles are also reflected in her broad range of styles, from brilliant songwriter ballads to punchy jazz vocalese, from soulful blues to string saturated glamorous Hollywood sounds . She has already internalised that unique power of jazz which she combines with her own individual expression together with collaborative creativity. She builds on this with an inner confidence in her wonderful voice, her songwriting as well as the combined skills of her band members, the arrangements of both her mentor and bassist Jens Loh along with the expertise of Cornelius Claudio Kreusch as the producer and distributer. The result is irresistible and rare in the German Jazz scene. Young jazz musicians can become obsessed with experimental style jazz but Laura has gone beyond this with what can only be described in the best sense of the term “old fashioned“ with a modern twist. It is simply pure musical pleasure for those who love a bit of sophistication.
Her voice is sometimes tender and enchanting, sometimes gripping or tongue-twisting; the sound is raucous, almost whispering, then happily lilting or expressive and yearning. The Franco-American Marion sings of dancing dragons, of jumping into cold water and bathtubs full of beer, but also of tears and dreams, of love, lust and sorrow, of joy and fantasy. Colorful stories, told in six different languages – from elegant French to fairy-tale Romanes.
Just as colorful and diverse is the musical language of the band, which is mainly characterized by Gypsy Swing “à la Django”: acrobatic guitar solos and impressive violin playing next to powerful double bass and the percussive off-beat of the accompanying guitar. But in between, other sounds become audible again and again. There are improvised passages, quiet soundscapes and impressionistic moments: for example the violin in dialogue with the singing voice, warm bass tones, bowed with the bow, airy and intimate guitar playing and also echoes of the chanson tradition or Balkan rhythms. Each song follows its own narrative and musical dramaturgy.
With “Histoires” the French-German-Polish quintet Marion & Sobo Band presents a captivating, at the same time playful album full of fantasy, humor and colorful music.
What happens when a classical clarinetist, a representative of new music on the accordion and a jazz bassist join forces? The result is called Firasso – the three musicians of this post-genre group have developed an earthy, gripping musical language, passionate, dynamic and rich in contrasts. The trio presents sophisticated original compositions that draw on the musical vocabulary of the tango and klezmer tradition, Balkan music and French musette. This sounds sometimes fiery and blazing, sometimes refreshing like a downpour in summer, sometimes intense like a strong ristretto.
For the musicians of Firasso, music has a lot to do with life. They tell stories of a walk through the autumn leaves, of chewing gum stuck under the heel, of uncertainty and fear in Corona times. Life is everything: exciting, sad, angry, cheerful, if you set your antennas to receive…
Nietzsche’s idea of the “eternal return” inspired pianist and PhD philosopher Kilian Kemmer to write his new album “Und Zarathustra tanzte.” “I find the idea that I have to live this life, as I live and have lived it now, once again and countless times, extremely fascinating,” Kemmer says. “Who can say that with complete conviction?”
In musical aphorisms, the trio takes up various facets and motifs of the idea. The pieces are called, for example, the “Eternal Return”, “Shepherd” or “On Blissful Islands”. The trio also sets a poem by Nietzsche to music: “The Other Dance Song”. And what many do not know: Nietzsche himself sat at the piano and composed. Kemmer interprets his piece “Das Fragment an sich” in a short solo fragment in his very own way.