Johanna Summer / Jakob Manz: Cameo

Cameo showcases the remarkable partnership between pianist Johanna Summer and saxophonist Jakob Manz. While their instrumental prowess shines throughout, the duo's true strength lies in their diverse musical influences. These varied inspirations infuse their compositions with unexpected twists that transcend the conventional boundaries of their chosen instruments.

Classical music can often be found at the heart of European jazz and serves as the dominant influence on pianist Summer. She frequently performs at classical music venues, often playing free improvisations on classical pieces. In contrast, saxophonist Manz brings a different perspective; he is rooted in jazz and pop styles and approaches improvisation with bold creativity. While they may seem like an unconventional pairing, this second album, following The Gallery Concerts I (ACT Music, 2022), has thoughtful and refined arrangements and uses the juxtaposition of their styles to create a coherent whole.

The album has 11 tracks spanning 39 minutes. Summer contributes five compositions, Manz three and there are adaptations of classical, pop and folk songs. The album opens with Manz's plaintive notes on the slow but intense "The Opposite." Composed by Summer, it features delicate piano phrases that carry a wave of sadness. In complete contrast, "The Turmoil" is fast-moving with Manz showing his ability on the recorder, his swift, soaring notes blending well with Summer's classically based solo.

The first injection of jazz comes in the title track; Summer's composition is the ideal platform for Manz's bright alto saxophone improvisation. Manz is also impressive on "Delusion," his interplay alongside Summer's commanding piano work making this a highlight. This synergy is equally potent on "Hope Mechanism," where Manz's alto fully stretches out alongside Summer's driving piano.

The duo enriches their repertoire with "Im schönsten Wiesengrunde," a folk song from Manz's home region of Swabia that unfolds through gently flowing piano and sax. Their interpretation of "Mahler Neu(n)," based on the fourth movement of Gustav Mahler's ninth and final complete symphony, showcases their innovative approach, while Summer's inventive arrangement of Herbert Grönemeyer's 1984 hit "Flugzeuge im Bauch" builds subtly in intensity.

Despite their distinctly different styles, the musicians have developed a sense of immediacy, responding to each other with remarkable spontaneity to craft complex textures and rich tonal palettes. Manz's bold, exciting performance finds its perfect complement in Summer's elegant phrasing as she weaves between the lines, softening the harder edges and rounding out the compositions. Together, they navigate classical, jazz, and improvisation with self-assurance, producing an engaging album that is a testament to their creative vision and their willingness to explore new musical territory.

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