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Mikhail Churilov (guitar), Jerry Lu (piano), Caris Hermes (double bass), Niklas Walter (drums)

Guitarist Mikhail Churilov grew up in Novosibirsk and has been living in Germany for several years. He is currently finishing his studies at the Folkwang University of the Arts in Essen and is working on presenting several of his projects to the public. One of these projects is the re-launch of a jazz quartet originally formed in 2016. The band will present a well-prepared mix of jazz standards from the Great American Songbook, modal tunes from the ’60s and their own compositions.



The King George Big Band

Jörg Achim Keller (Drums & Arrangements), Heinz Dieter Sauerborn (Alto Sax 1), Paul Heller (Tenor Sax 2), Stefan Weber (Tenor Sax 3), Wim Both (Trumpet 1), Ruud Breuls (Trumpet 2), Günter Bollmann (Trombone 1), Uli Plettendorff (Trombone 2), Jürgen Neudert (Tenor Horn), Richard Hellenthal (Tuba), Henning Gailing (Bass), Billy Test (Piano)

“DREAMBAND!” – with this word he described the hand-picked line-up of his KING GEORG 12 before the premiere 2 years ago – before then the pandemic brought this exciting project to an abrupt end after only one performance. Now the concert series is finally being resumed. The arranger and long-time chief conductor of the big bands of the hr and NDR will regularly write new music for the band’s monthly concerts, which will always be premiered by this all-star ensemble of German big band jazz on the third Wednesday of each month. Original compositions and arrangements of standards that leave room for the ensemble’s outstanding soloists, in which the swinging rhythm section can unfold freely, and whose ensemble sound combines the energy of a big band with the flexibility of a combo, the sharpness of the hottest bands with the velvety smoothness of the coolest. “A new sound is born!

Jesse Davis (saxophone), Oliver Kent (piano), Martin Zenker (bass) Kim Minchan (drums)

The Jesse Davis Quartet has been touring and performing throughout Europe in recent years (including a week in Switzerland last year) and on an extended stay in South Korea with workshops and concerts. Recently, the musicians recorded an album “Live at EBS” on Korean television, which will be released later this year. The quartet pioneers mainstream and post-bop jazz – with a driving, swinging energy rarely found anywhere else in the world.

 

Judy Carmichael (piano, vocals), Sam Dunn (guitar)

Grammy-nominated pianist and vocalist Judy Carmichael is one of the world’s leading interpreters of stride and swing piano. Count Basie nicknamed her “Stride” in recognition of the aplomb with which she plays this technically and physically demanding jazz piano style. Judy’s vocal debut on her CD “Come and Get It” shows that she sings everything from Peggy Lee-inspired standards to humorous interpretations of Fats Waller tunes. This was followed by her first all-vocal CD, “I Love Being Here With You,” which is also her first with another pianist, in this case the great Mike Renzi (the music director of Mel, Tormé. Tony Bennett, Peggy Lee and Sesame Street) with Harry Allen on saxophone and Jay Leonhart on bass.

 

 

Jerry Lu (piano), Caris Hermes (bass), Niklas Walter (drums), Andy Haderer (trumpet) & guests

Monthly jam session led by WDR Big Band trumpeter Andy Haderer.



Eine Veranstaltung von Literatur zur Zeit (Lesung und Talk auf Englisch)

Moderation: Wolfgang Frömberg

To be working-class in a middle-class world is to be a ghost. Excluded, marginalised, and subjected to violence, the working class is also deemed by those in power to not exist. We are left with a choice between assimilation into middle-class values and culture, leaving our working-class origins behind, or total annihilation.

In The Melancholia of Class, Cynthia Cruz analyses how this choice between assimilation or annihilation has played out in the lives of working-class musicians, artists, writers, and filmmakers — including Amy Winehouse, Ian Curtis, Jason Molina, Barbara Loden, and many more — and the resultant Freudian melancholia that ensues when the working-class subject leaves their origins to “become someone,” only to find that they lose themselves in the process.

Part memoir, part cultural theory, and part polemic, The Melancholia of Class shows us how we can resist assimilation, uplifting and carrying our working-class origins and communities with us, as we break the barriers of the middle-class world. There are so many of us, all of us waiting. If we came together, who knows what we could do.

In einer Welt der Middle Class zur Arbeiterklasse zu gehören, bedeutet ein Gespenst zu sein. Ausgegrenzt, marginalisiert und der Gewalt ausgesetzt, wird die Arbeiterklasse auch von den Machthabern als nicht existent betrachtet.
In The Melancholia of Class analysiert Cynthia Cruz das Leben von Musikern, Künstlern, Schriftstellern und Filmemacher:innen aus der Arbeiterklasse im Zwiespalt – darunter Amy Winehouse, Ian Curtis, Jason Molina, Barbara Loden und viele andere – und welche Freudsche Melancholie sich daraus ergibt, wenn das Subjekt aus der Arbeiterklasse seine Herkunft hinter sich lässt, um »jemand zu werden«, nur um festzustellen, dass es sich dabei selbst verliert.

Mit »The Melancholia of Class« – Teils Memoiren, teils Kulturtheorie und teils Polemik – zeigt Cyntha Cruz Wege, sich der Assimilierung zu widersetzen , indem man die Herkunft aus der Arbeiterklasse nicht verleugnet und die Barrieren der Welt der Mittelklasse durchbricht. »Wir sind so viele, wir warten alle. Wenn wir uns zusammentun, wer weiß, was wir erreichen können.«

Eine Veranstaltung aus der Reihe Literatur zur Zeit

Moderation: Simone Schlosser

Ein Millenial soll Mutter werden und will alles, nur nicht die eigene deutsche Familie reproduzieren. Ein gesellschafts- und sprachkritischer Roman erzählt drei Trimester – und die Zeit danach.

»Alle Befürchtungen waren wahr, und alles war gerecht gewesen.«

Ein Test im Büro bringt die Gewissheit: Teresa Borsig ist schwanger. Von der Idee einer Familie fühlt sie sich gleichzeitig angezogen und abgestoßen. Da sind die Erinnerungen an ihre Kindheit, an Distanz, Disziplin und Schläge. In der Abtreibungsklinik von den Schwestern zum Schlucken der Tablette gedrängt, geht Teresa in den Widerstand: Sie will doch Mutter werden. Nein, Mama will sie werden. Kann man geben, was einem selber fehlt?

Das Gesundheitssystem nimmt die Schwangere auf wie einst die Eltern. Effizient. Kalt. Man will doch nur ihr Bestes. Und ihr Baby in einem Wärmebett isolieren. Wie hoch ist die Überlebenswahrscheinlichkeit ihres Säuglings? Ärzte und Schwestern sprechen über ihren Kopf hinweg. Teresa schreit. Sie solle sich mal nicht so wichtig nehmen, sagt das Krankenhaus.

»MTTR« erzählt von den Auswirkungen deutscher Nachkriegserziehung, erzählt die Unfähigkeit der Babyboomer, Gefühle zu zeigen, und wenn dann nur durch Ersatzhandlungen: Kauf, Korrektur und Sorge. Jeder Dialog ist eine Boshaftigkeit. Fast bemerkt man sie nicht, denn aktengraue Gefühlstemperatur und grobe Unbeholfenheit sind Alltag in Deutschland. Werden Millennials, wie Teresa, sie reproduzieren?

 

MTTR: Mean Time To Recover bzw. auch Mean Time To Repair (abgekürzt jeweils MTTR) wird als die mittlere Reparaturzeit nach einem Ausfall eines Systems definiert. Diese gibt an, wie lange die Wiederherstellung des Systems im Mittel dauert. Sie ist somit ein wichtiger Parameter für die Systemverfügbarkeit. (Quelle: Wikipedia)



Chet Baker Birthday Party

Julian and Roman Wasserfuhr have made “growing up in public” – a famous album title by Lou Reed – second nature. The brothers recorded their album debut “Remember Chet” (2006) when they were 17 and 20 years old, respectively – a tribute to Julian’s early role model, trumpeter Chet Baker – and were met with an enthusiastic response. Die Zeit found the brothers’ music “amazingly unusual,” the Süddeutsche Zeitung attested to Julian Wasserfuhr’s “magical tone,” but above all the general public embraced the pair of brothers from the dreamy little town of Hückeswagen.

After seven successful albums, they are now among the most renowned jazz musicians in Germany and have received several awards and prizes, including the German Jazz Award in Gold from the German Music Industry Association. On this evening, the Wasserfuhr brothers, together with Oliver Rehmann and Markus Schieferdecker, as well as some surprise guests, will musically celebrate the birthday of trumpet legend Chet Baker at the King Georg.

Not only in musical terms is everything homemade with the Wasserfuhrs. Besides their passion for music, the Jazz brothers have been brewing their own beer “Schnaff” for four years. In the fall of 2017, the jazz beer celebrated its premiere. It tastes fresh, aromatic hops, fruity-bitter, intense and has since enjoyed great popularity. Due to the great continuing demand, a possibility was sought to make the “Schnaffgenuss” also available to the public on a regular basis. Since jazz and beer are known to go well together, the idea was born to combine these pleasures. And thus the King Georg Jazzclub will be consecrated as the first exclusive Schnaff dispensing station that evening.

“Anke Helfrich is not only the best, but one of the best that German jazz has to offer,” is how Reinhard Köchel described the award-winning pianist Anke Helfrich in “Jazzthing”. If you then gather two more top musicians around you, the result can only be casual, good-humored and multi-faceted.



Felix Hauptmann (piano), Roger Kintopf (bass), Leif Berger (drums)

Felix Hauptmann, Roger Kintopf and Leif Berger succeed in making their sophisticated, harmonically and metrically unbound music sound as if it were freely improvised. This highly concentrated and organically pulsating compositional distillate releases unexpected associations and amazes with its sheer lack of intention: nothing must, but everything can.