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Stan Kenton-NOVA Jazz Orchestra / Baker's Dozen Big Band / Danny D'Imperio and the Bloviators


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Stan Kenton Orchestra / NOVA Jazz Orchestra

Double Feature, Vol. 2

Tantara Productions


One of the more difficult aspects of reviewing Tantara's series of impressive salutes to Stan Kenton and his music is knowing where to begin. As on Volume 1 of the label's Double Feature (with Volume 3 already on the street as this is being written), the two-CD set is divided in twain: Disc 1 features the Kenton Orchestra in two live performances from 1959, Disc 2 fourteen seldom-heard Kenton charts by Bill Mathieu (who also wrote the earnest and informative liner notes), performed by the superb Nova Jazz Orchestra from St. Paul, MN (the equally commendable DePaul University Jazz Ensemble was ensconced opposite the Kenton Orchestra on Volume 1). While anyone who knows and loves Kenton's music will be well-versed on what to expect from Disc 1, the real eye-opener (as was true of the DePaul ensemble on Volume 1) is the Nova Orchestra on Disc 2, whose re-creation of the "Kenton sound" is masterful and on the mark.

In addition to furnishing all of the arrangements on Disc 2 and composing five of its numbers, Mathieu, who began writing for Kenton in 1959, arranged "What Is This Thing Called Love," "This Is Always" and "Willow Weep for Me" on Disc 1, which consists of a radio air-check in April 1959 from the Blue Note in Chicago and an appearance in June at the Red Hill Inn in Pennsauken, NJ. As most of the music on Disc 1 is familiar (including "The Big Chase," "My Old Flame," "Get Out of Town" and "I Concentrate on You" from the album Back to Balboa), it can be summarized rather quickly. Suffice to say the '59 band swung about as hard as any Kenton ever fronted, with well-knit charts by Mathieu, Pete Rugolo, Johnny Richards, Marty Paich, Bill Holman, Lennie Niehaus, Gene Roland, Joe Coccia and the leader himself. On the Blue Note date, whose sound is not sub-par but variable, the orchestra leads off with one of Holman's finest charts, "What's New" (solos by Niehaus, baritone Billy Root, trumpeter Rolf Ericson and trombonist Kent Larsen).

The same quartet solos on "I Concentrate on You," while elsewhere there are effective statements from tenor Bill Trujillo and trombonist Archie LeCoque. The Red Hill Inn concert, splendidly recorded by Wally Heider, offers more of the same, with baritone Jack Nimitz, in for Root, soloing with Ericson, tenor John Bonnie, trombonist Jimmy Knepper and percussionist Mike Pacheco on Paich's "The Big Chase." Trombones and rhythm are out front on Rugolo's "Interlude," and bass trombonist Bobby Knight is featured on Richards' arrangement of Cole Porter's "Get Out of Town." Also on the menu are Matt Dennis' "The Night We Called It a Day," Ralph Burns' "Early Autumn," the standard "This Is Always," Duke Ellington's "Don't Get Around Much Anymore" and Roland's "Twilight Riff."

Disc 2 opens with a pair of charts written by Mathieu in 1958 as "audition pieces" that were never performed by the Kenton Orchestra. Nor were the dozen arrangements that follow, heard here for the first time as performed by the Nova Jazz Orchestra, ably led by baritone saxophonist Mike Krikava. Whatever reason Kenton had for turning them down, it certainly wasn't owing to a lack of quality but perhaps more a matter of personal taste or musical direction. Kenton knew the temperament and sound he wanted, and not every new arrangement made it into the book. A number of Mathieu's charts did, and he was the sole arranger on one of Kenton's most widely praised albums, Standards in Silhouette. Here, Mathieu's five original compositions are admirably played by the Nova ensemble along with his tasteful versions of nine standards.

There is one guest soloist, long-time Twin Cities stalwart Dave Karr, who sparkles on tenor ("Raff Riff," "A Foggy Day") and baritone sax ("Indian Summer"). Nova has some engaging soloists of its own, namely trumpeters Sten Johnson and John Ahern (enchanting on his feature, "Easy Living"), alto Bob Byers, trombonists Mike Haynes, Mike Larson and Chris Wiley (showcased on "Come Rain or Come Shine," "Magic Lantern" and "I Loves You Porgy," respectively), tenor Paul Peterson and baritone Bill Burton. The rhythm section, bolstered on the Latin numbers ("The Breeze and I," "Frenesi") by Angel Diaz on timbales and congas, is sharp and steady. Disc 2 closes with one of Mathieu's most charming (unrecorded) compositions, the free-wheeling, Mulliganesque "Blues News" (solos by Peterson, Byers and Johnson).

Two volumes to date, and two unequivocal winners for Bill Lichtenauer's Tantara Productions. As is true of baseball and blue skies, you can never have too much Stan Kenton, especially when the themes have never before been recorded. Volume 3 in the series should be another humdinger, as it encompasses more of Kenton's previously unrecorded music (this time from the 1970s) and a performance on Disc 2 by the formidable University of Wisconsin-Eau Claire Jazz Ensemble. If it's anywhere near as exciting as Volumes 1 and 2 it should be a must-have in every big-band library.

Baker's Dozen

Goes to Eleven

BJam Music


Baker's Dozen is of course a play on words, sort of like Danny Ocean and his associates in the film Ocean's Eleven. The "baker" here is leader and baritone saxophonist Paul Baker, and what he and his Austin, TX-based "dozen" have cooked up is an album that teems with music that is open-hearted and sunny, the kind that places a smile on your face and keeps it there. The arrangements, all by Baker (who also wrote every song on the studio date save Robert Skiles' New Orleans-styled "Another Zydobeto"), are reminiscent of the buoyant and hard-swinging charts written for Maynard Ferguson's comparably-sized ensemble in mid-60s by Willie Maiden, Don Sebesky, Mike Abene, Slide Hampton, Don Menza and other masters of the genre.

Owing to the varying schedules of the musicians involved, Goes to Eleven was recorded during a four-month period in 2010 and there are some personnel changes, notably in the trumpet section and among the basses (three are listed). Baker managed to keep the trombone and reed sections intact, while pianist Morris Nelms and drummer Rob Kazenel report for duty on every number. What's important is that no matter who is on board, everyone plays admirably. These surely must be among the finest jazz musicians the Austin area has to offer. The ensemble is tight, the soloists consistently sharp and engaging. Baker solos twice (on "BJam Blues" and "The Woozy Dude Blues") and there are emphatic statements along the way by almost everyone else. They are enriched at every turn by Baker's burnished charts, which swing easily along without ambiguity or surfeit.

There is, however, ample variety, from the straight-ahead swagger of "Goes to Eleven," "Woozy Dude Blues" and "Spazz Jazz" to the balladry of "The Chanteuse" and "Sing," the Latin stylings of "Todo Que Eres" and "El Viento Caliente" and the harmonic sensibility of "BJam Blues," "Pellalarigram," "Full Circle" and "Chick Digs It." Whatever the mood or tempo, Baker's Dozen is on top of its game, producing a session that pleases from start to finish. The rhythm section, firmly anchored by Kazenel, governs with agility and power, as does lead trumpeter Eric Johnson. When all is said and done, Baker's Dozen really cooks, and the nourishment it provides is both succulent and satisfying.

Danny D'Imperio and the Bloviators




Even though thirteen musicians are listed, Alcohol isn't really a "big-band album," as only on three tracks (Joe Farrell's "Ultimate Rejection," Takes 1 and 2, and Charlie Parker's "Blue Bird") do more than ten members of drummer Danny DImperio's Bloviators (look it up) take part. Elsewhere, the group's size varies from sextet ("Portrait of Stephanie," "It's Magic") to octet ("Room 608," "Make It Good"), nonet ("The Song Is You," "Blue on Blue") and tentet (Melvin Rhyne's "It's Love"). All of the tracks save one ("Stephanie," from 1991) were recorded in October 1998. For the most part, this is a beefed-up version of D'Imperio's smaller groups that have recorded at least half a dozen splendid albums for V.S.O.P., with many of the sidemen from those sessions present and accounted for on this one.

Having said that, it should be noted that the music is first-class all the way. D'Imperio's choice of material is exemplary, and the bop-flavored themes go down as easily as whatever sauce the band was imbibing. Truth be told, there's no way of knowing what role, if any, alcohol played in fashioning the album, but if these gentlemen were indeed lathered as the sessions were being taped, other groups should take note and order a round or two of whatever it was they were having. Drunk or sober, D'Imperio and his colleagues are invariably sharp and enterprising, and you won't hear straight-ahead jazz performed much better than this.

Solos for the most part are left in the capable hands of trumpeters Greg Gisbert and Andy Gravish, alto Gary Pribek, tenor Ralph Lalama, trombonist John Mosca and pianist Hod O'Brien, each of whom responds impressively whenever called upon. Pribek, a Parker disciple who is one of D'Imperio's particular favorites, is showcased on an easygoing version of Sammy Cahn / Jule Styne's "It's Magic." Guitarist Steve Brown adds another voice (and solos as well) on "It's Love" and "Blue Bird." Trombonist Early Anderson, who appears only on the two renditions of "Ultimate Rejection," is, according to D'Imperio, "presumed deceased," but a web search found him alive and busy at the Westwood Music Studios in New Jersey.

The rhythm section, with D'Imperio and O'Brien leading the way, is always alert and in control. As for the bassist, he remains a mystery, as there's no way of knowing whether "Queeg" is an assumed name for Dave Shapiro or other bassists who have worked with the group. D'Imperio, who is seldom sober (pun intended) and may have written the liner notes with tongue in cheek, says Queeg is "a troglodyte [well, he spells it "trogolidyte"] who, in December 2010, was found frozen solid in his hovel in West Townshend, Vermont." The truth may never be known. What is undeniably true is that Bloviators and Alcohol do mix, and that D'Imperio and his mates have produced a superlative album that sparkles from end to end.

University of Missouri Concert Jazz Band

Tunnel Vision

Mizzou Jazz


Missouri's long and storied jazz history, which had its origins in Kansas City almost a hundred years ago, continues today with a fairly active jazz scene in that city as well as in a number of institutions of higher learning including the University of Missouri at Columbia, whose latest recording, Tunnel Vision, is described on its cover as "a collection of new music." That it certainly is, encompassing eleven fresh compositions, five of which were written by UM students, two more by the Concert Band's director, Dr. Arthur White, and one each by guest artists Bobby Watson, who leads the Jazz Studies department at the University of Missouri-Kansas City Conservatory of Music and Dance, and UM alum and Kansas City stalwart Mike Metheny.

The various themes run the gamut from straight-ahead to somber, passionate to playful, twelve tone opus to down-home blues, rhythmic Afro-Cuban to choppy fusion—in other words, enough changes of pace and temperament to invite and sustain almost anyone's interest and attention. Alto saxophonist Watson solos adroitly on four numbers, flugelhornist Metheny (yes, he's Pat's brother) on two, while White weighs in with scorching alto broadsides on Paul Hanson's soulful "Rite of Scorpio" and lead trumpeter Michael Rabadan's light-hearted send-up of college fight songs, "Go Mizzou!" Rabadan is a UM student, as are trombonist Matt Schmitz ("Back to Business"), guitarist Mike Strausbaugh ("Race to the Clouds"), vibraphonist Skip Thompson ("Refractions") and Patrick Clark ("After Hours").

The band opens in straight-on form on "Business" (solos by Watson, Metheny and Schmitz) before veering southward for White's even-tempered Afro-Cuban treatise, "Tunnel Vision" (which showcases Thompson, tenor Dirk Downing and the group's all-freshman rhythm section: pianist Grace Lyden, bassist Louie Pagan, drummer Will Lyons). "Race to the Clouds," featuring Strausbaugh's screeching guitar, was inspired by the music of Frank Zappa and others, which is all that need be said. The band regains its balance to some extent on "Refractions," which "creates an atmosphere of stasis and transformation," it says here, to reinforce a nice solo by alto Michael Metcalf. Watson solos again on White's earnest "Elegy for Debbie," Lyden, trumpeter Annie Linders and baritone Sarah Carney on Paul Seitz' twelve tone endeavor, "Six of One . . ."

"Scorpio," a study in fusion influenced by Jimi Hendrix and Michael Brecker, enfolds an agile solo by White, while trombonist David Witter and pianist Josiah Bryan share the spotlight on the beguiling "After Hours." Metheny is front and center with alto Ryan Meinkoth on Metheny's undulating "Attitude Blues," which precedes "Go Mizzou!" (on which Watson and White trade alto volleys) and Watson's enchanting "Appointment in Milano," wherein he solos perceptively with Witter and Bryan. If there were any doubts that big-band jazz is alive and well in Missouri, Tunnel Vision should lay them decisively to rest.


Vol. 7, The Next Generation / Vol. 9, Originals



The Next Generation and Originals (the first a two-CD set) are Volumes 7 and 9 in the recorded legacy to date of Germany's superlative National Youth Jazz Orchestra, more commonly known as BuJazzO. Where, you may ask, is Volume 8? According to the orchestra's music director, Dr. Peter Ortmann, Volume 8 has been recorded but not yet released. Volume 7 consists of a dozen standards and newer works, three each of which are conducted by Marko Lackner, Bill Dobbins, Edward Partyka and Jiggs Whigham, plus "Women in Jazz," whose four numbers were written by female composers Meike Goosmann (two), Julia Hulsmann and Efrat Alony and arranged by conductor Steffen Schorn. Volume 7 was recorded in concerts from 2007-09, Volume 9 in September 2010 at a studio in Reinsberg. As its title denotes, Volume 9 is comprised entirely of original compositions and arrangements by members of the orchestra and others. That's about the best I can manage in the way of background information, as the liner notes to both volumes are in German.

Taking Volume 7 first, Disc 1 opens with a couple of Lackner's compositions, "Zwiefacha" and "Don Quixote," and the Sammy Cahn / Jimmy Van Heusen ballad "The Second Time Around," nicely sung by an unnamed vocalist (eleven are listed). Dobbins is up next, conducting three familiar songs from the jazz / standard repertoire, Count Basie / Eddie Durham's "Swinging the Blues" and a brace of Harold Arlen evergreens, "Blues in the Night" and "I've Got the World on a String" (the last two sung by a mixed chorus and soloists). Partyka oversees two of his forward-leaning themes, "Overcast" and "Homecoming," sandwiched around Tom Waits' folk song, "Time." Again, there are unnamed female vocalists (or perhaps the same one) on "Overcast" and "Time."

On Disc 2, Whigham conducts three movements from Johnny Richards' evocative Cuban Fire suite, "Fuego Cubano," "Quien Sabe?" and "La Guera Baila" (with four French horns on hand to add color) before making way for the women, whose session opens with Hulsmann's "Gelb-Satz IV" from Drei Farben Weiss suite and continues with Alony's "Stray Thoughts" and Goosmann's "Schafsritt" and "Patita." Although the women's compositions are a mixed bag whose pleasurable interludes outweigh their moments of discord, BuJazzO plays them with ardor and awareness, as it does everything else on the menu. Several photos of the various orchestras are enclosed in Volume 7's booklet, one of which features a smiling trumpeter Carl Saunders seated front row center. If you're going to have guest artists, you may as well invite the best.

Marko Lackner is the lone conductor on Volume 9, which includes compositions by orchestra members Philip Czarnecki ("Hidden Sun"), Alexander Buhl ("Mr. Metro") and half a dozen other writers. This is by and large the same group I was fortunate enough to see and hear in Santa Fe (conducted by Whigham) as it ended a two-week tour of the U.S, in August 2011, as several of the names are familiar (trumpeters Matthias Schwengler, Mathis Petermann and Steffen Mathes, trombonists Timothy Hepburn and Lukas Jochner, altos Katharina Brien and Markus Harm, tenors Buhl and Toni Bechtold, baritone Florian Leuschner, flutist Charlotte Ortmann, pianist Stefan Nagler, guitarist Czarnecki, bassist Reza Askari-Motlagh, drummers Julian Fau and Julian Kulpmann).

Of the two volumes, Originals earns the advantage owing to the impressive compositions, each of which is vibrant and plain-spoken, and the fact that there are no vocals, as on The Next Generation. As is the case on both volumes, the unnamed soloists are uniformly admirable, especially so for musicians in their teens or barely beyond (the orchestra's upper age limit is twenty-five). From concert to concert and end to end, BuJazzO readily affirms that it is not only Germany's foremost youth orchestra but one of the world's most accomplished groups of younger musicians as well.

Tracks and Personnel

Double Feature, Vol. 2

Tracks: CD1: Intro & Theme; What's New; My Old Flame; What Is This Thing Called Love; I Concentrate on You; How Am I to Know; La Suerte de los Tontos / Sign Off; The Night We Called It a Day; The Big Chase; Interlude; Get Out of Town; Early Autumn; Nightingale; This Is Always; Don't Get Around Much Anymore; Twilight Riff; Willow Weep for Me; Artistry in Rhythm. CD2: Silhouette; Keeps; Skylark; The Breeze and I; Magic Lantern; Raff Riff; Easy Livin'; I Loves You Porgy; A Foggy Day; Come Rain or Come Shine; You'd Better Go Now; Frenesi; Indian Summer; Blues News.

Personnel: CD1: Tracks 1-7: Stan Kenton: leader, piano; Frank Huggins: rrumpet; Bud Brisbois: trumpet; Rolf Ericson: trumpet; Joe Burnett: trumpet; Roger Middleton: trumpet; Lennie Niehaus: alto sax; Bill Trujillo: tenor sax; John Bonnie: tenor sax; Billy Root: baritone sax; Sture Swenson: baritone sax; Archie LeCoque: trombone; Kent Larsen: trombone; Jimmy Knepper: trombone; Jim Amlotte: bass trombone; Bill Smiley: bass trombone; Carson Smith: bass; Jerry L. McKenzie: drums; Mike Pacheco: percussion. Tracks 8-18: Bob Knight: bass trombone, for Bill Smiley; Charlie Mariano: alto sax, for Lennie Niehaus; Jack Nimitz: baritone sax, for Sture Swenson; Billy Stuart: drums, for Jerry McKenzie. CD2: John Ahern: trumpet; Pete Davis: trumpet; Graham Martin: trumpet; Tim Martin: trumpet; Sten Johnson: trumpet; Bob Byers: alto sax; Kari Musil: alto, tenor sax; Paul Peterson: tenor sax; Bill Burton: tenor, baritone sax; Mike Krikava: baritone sax; Dave Karr: tenor, baritone sax solos (6, 9, 13); Mike Larson: trombone; Chris Wiley: trombone; Mike Haynes: trombone; Craig Lawless: trombone; Ike Wagner: bass trombone; Bruce Padalty: piano; Pete Karstad: bass; Dave Perry: drums, percussion; Angel Diaz: timbales, congas.

Goes to Eleven

Tracks: Goes to Eleven; Todo Que Eres; BJam Blues; The Woozy Dude Blues; The Chanteuse; Spazz Jazz; Pellalarigram; Another Zydobe; Full Circle; Sing; Chick Digs It; El Viento Caliente.

Personnel: Paul Baker: composer, arranger, leader, baritone sax; Eric Johnson: trumpet; Jimmy Shortell: trumpet; Curtis Calderon: trumpet (1, 3, 6, 12); Josh Davies: trumpet (2, 4, 7, 12); Rich Haering: trumpet (1, 5, 8, 11); Ray Sasakt: trumpet (3, 6, 9. 10); Scott Benner: alto, soprano sax; Simon Wiskowski: alto, soprano sax; Steven Vague: tenor sax; Ken George: trombone; Randy Zimmerman: trombone; Kerry Williams: bass trombone; Morris Nelms: piano; Kris Afflebaugh: bass (1, 4, 8, 11); Billy Satterwhite: bass (2, 5, 7, 12); Utah Hampton: bass (3, 6, 9. 10); Rob Kazenel: drums.


Tracks: The Song Is You; It's Love; Room 608; Make It Good; Ultimate Rejection (take 1); Portrait of Stephanie; Blue Bird; It's Magic; Blue on Blue; Ultimate Rejection (take 2).

Personnel: Danny D'Imperio: leader, drums; Greg Gisbert: trumpet; Andy Gravish: trumpet; Chris Persad: trumpet; Gary Pribeck, Ralph Lalama; John Rohde, Joe Carello: reeds; John Mosca: trombone; Early Anderson: trombone; Hod O'Brien: piano; Steve Brown: guitar: Queeg: bass.

Tunnel Vision

Tracks: Back to Business; Tunnel Vision; Race to the Clouds; Refractions; Elegy for Debbie; Six of One . . .; Rite of Scorpio; After Hours; Attitude Blues; Go Mizzou!; Appointment in Milano.

Personnel: Arthur White: director, alto sax (7, 10); Michael Rabadan: trumpet; Lexie Signor: trumpet; Caleb Franklin: trumpet; Annie Linders: trumpet; Michael Metcalf: alto sax; Ryan Meinkoth: alto sax; Dirk Downing: tenor sax; Max Vale: tenor sax; Sarah Carney: baritone sax; David Witter: trombone; Matt Schmitz: trombone; Laura Brekke: trombone; Seth Elder: trombone; Brian Vaughn: bass trombone; Josiah Bryan: piano; Grace Lyden: piano; Mike Strausbaugh: guitar; Louie Pagan: bass; Skip Thompson: vibes; Phylshawn Johnson: drums; Will Lyons: drums. Special guests—BobbyWatson: alto sax (1, 5, 10, 11); Mike Metheny: flugelhorn (1, 9).

The Next Generation / Originals

Tracks: The Next Generation: CD1: Zwiefacha; Don Quixote; The Second Time Around; Swinging the Blues; Blues in the Night; I've Got the World on a String; Overcast; Time; Homecoming. CD 2: Fuego Cubano; Quien Sabe?; La Guera Baila; Gelb—Satz IV; Stray Thoughts; Schafsritt; Patita. Originals: Mont-Royal; Dijo; Mellow Drama; Tag am Kap; Hidden Sun; Beautiful Agony; Concredestal Piece; Mr. Metro.

Personnel: The Next Generation: CD1: Tracks 1-3: Marko Lackner: conductor; Benjamin Brown: trumpet; Emanuel Dahn: trumpet; Sinje Glaessner: trumpet; Jan Gospodinow: trumpet; Menzel Mutzke: trumpet; Kaja Olgun: trumpet; Sebastian Albrecht: alto sax; Andreas Bohlen: alto sax; Stefan Koschitzki: alto sax; Paul Punke: alto sax; Jan Grepling: tenor sax; Stefan Schmid: tenor sax; Christian Steuber: tenor sax; Timo Vollbrecht: tenor sax; Florian Glatz: baritone sax; Matthias Tschopp: baritone sax; Marcus Franzke: trombone; Andrej Ugoljew: trombone; Max von Einem: trombone; Gerold Kleinbogardt: bass trombone; Johannes Oppel: bass trombone; Jan Schreiner: bass trombone; Volker Engelbert: piano; Florian Hofner: piano; Gabriel Beuerle: guitar; Sebastian Bohlen: guitar; Maximilian Frankl: guitar; Constantin Herzog: bass; Dirk Kunz: bass; Martin Krummling: drums; Julian Kulpmann: drums; Gabriel Hahn: percussion; Lukas Meile: percussion; Aneta Barcik: vocal; Julia Zipprick: vocal; Bianca Korner: vocal; Anika Hutteman: vocal; Rebecca Nagel: vocal; Julia Oschewsky: vocal; Sofie Grobler: vocal; Kai Podack: vocal; Martin Hagen: vocal; David Rynkowski: vocal; Peter Thoma: vocal. CD1: Tracks 4-6: Bill Dobbins: conductor; add Christoph Moschberger: trumpet; Adrian Kleinlosen: trombone, for Max von Einem; Roman Sieweke: alto sax, for Andreas Bohlen; Paul Punke: alto sax, out; Peter Klohmann: baritone sax, for Florian Glatz; Heinrich Wulff: guitar, for Maximilian Frankl; add Michael Gudenkauf: bass; Jakob Kuhnemann: bass, for Dirk Kunz; Silvio Morger: drums, for Julian Kulpmann; Gabriel Hahn: percussion, out; add Anne Teschner: vocal; add Fabiano Turk-Pereira: vocal; Anita Barcik: vocal, out; Anika Hutteman: vocal, out. CD1: Tracks 7-9: Ed Partyka: conductor; Johannes Bohmer: trumpet; Julian Hesse: trumpet; Christian Mehler: trumpet; Lars Seniuk: trumpet; Johannes Stange: trumpet; Andreas Unterreiner: trumpet; Andreas Bohlen: alto sax; Andreas Marinello: alto sax; Jan Grepling: tenor sax; Stefan Schmid: tenor sax; Timo Vollbrecht: tenor sax; Peter Klohmann: baritone sax; Benjamin Steil: baritone sax; Adrian Kleinlosen: trombone; Christopher Sauloff: trombone; Jan Scheiner: trombone; Andrej Ugoljew: bass trombone; Johannes Oppel: bass trombone; Christian Papst: piano; Clemens Potzsch: piano; Philipp Sinkemat: piano; Gabriel Beuerle: guitar; Sebastian Bohlen: guitar; Heinrich Wulff: guitar; Michael Gudenkauf: bass; Constantin Herzog: bass; Jakob Kuhnemann: bass; Martin Krummling: drums; Silvio Morger: drums; Anna Maria Schuller: vocal; Julia Oschewsky: vocal; Rebecca Nagel: vocal; Sophie Grobler: vocal; Martin Hagen: vocal; Christoph Mangel: vocal; David Rynkowski: vocal; Kai Podack: vocal. The Next Generation: CD 2: Tracks 1-3: Jiggs Whigham: conductor; Christian Muck: trumpet; Kaja Olgun: trumpet; Mathis Petermann: trumpet; Lars Seniuk: trumpet; Johannes Stange: trumpet; Andreas Unterreiner: trumpet; Felix Fritsche: alto sax; Johannes Ludwig: alto sax; Reza Mohajer: alto sax; Jens Bockamp: tenor sax; Birgitta Flick: tenor sax; Lucas Mohn: tenor sax; Timo Vollbrecht: tenor sax; Peter Klohann: baritone sax; Tamino Franz: trombone; Adrian Kleinlosen: trombone; Henricus Luschen: tuba; Kerstin Maier: trombone; Damian Omansen: trombone; Peter Palmer: trombone; Lisa Stick: trombone; Tobias Zimmer: trombone, bass trombone; Christopher Sauloff: trombone, tuba; Vera Schneider: French horn; Priska Schriefl: French horn; Benedict Swartman: French horn; Armin von Weschpfennig: French horn; Christian Pabst: piano; Philipp Sinkemat: piano; Sebastian Bohlen: guitar; Heinrich Wulff: guitar; Michael Gudenkauf: bass; Jakob Kuhnemann: bass; Ferenc Mehl: drums; Wieland Fritsch: drums; Sebastian Flaig: percussion; Dominik Frey: percussion; Jonas Herpichbohm: percussion; Maximilian Klaas: percussion; Konrad Wiemann: percussion; Stefanie Grassl: vocal; Maren Kessler: vocal; Christian Mews: vocal; Rebecca Nagel: vocal; Kai Podack: vocal; Anja Ritterbusch: vocal; David Rynkowski: vocal; Jessica Struch: vocal; Anna-Maria Schuller: vocal; Lars Ziegler: vocal. CD2: Tracks 4-7: Steffen Schorn: conductor; Christian Muck: trumpet; Kaja Olgun: trumpet; Mathis Petermann: trumpet, out; Lars Seniuk: trumpet, out; add Julian Hesse: trumpet; Reza Mohajer: alto sax, out; add Benjamin Steil: alto sax; Birgitta Flick: tenor sax, out; Lucas Mohn: tenor sax, out; add Stefan Schmid: tenor sax; add Johannes Oppel: bass trombone; Adrian Kleinlosen: trombone, out; Henricus Luschen: tuba, out; Kerstin Meier: trombone, out; Tobias Zimmer: trombone, bass trombone, out; Christopher Sauloff: trombone, bass trombone, out; Vera Schneider: French horn, out; Priska Schriefl: French horn, out; Benedict Swartman: French horn, out; Armin von Weschpfennig: French horn, out; Christian Pabst: piano; Sebastian Bohlen: guitar; Constantin Herzog: bass; Ferenc Mehl: drums; Julia Hulsmann: vocal; Meike Goosmann: vocal. Originals: Marko Lackner: conductor; Matthias Schwengler: trumpet; Mathis Petermann: trumpet; Fabian Bogelsack: trumpet; Steffen Mathes: trumpet; Johannes Roosen-Runge: trumpet; Julian Bossert: alto sax; Katharina Brien: alto sax; Markus Harm: alto sax; Toni Bechtold: tenor sax; Alexander Buhl: tenor sax; Markus Potschke: tenor sax; Florian Leuschner: baritone sax; Paul Muhle: baritone sax; Charlotte Ortmann: flute; Stefan Nagler: piano; Clemens Potzch: piano; Philip Czarnecki: guitar; Reza Askari-Motlagh: bass; Kenn Hartwig: bass; Julian Fau: drums; Julian Kulpmann: drums; Max Klaas: percussion.

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