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Rock & Pop – An exhibition in the Zeche Zollverein in Essen

Yesterday – on 19.02.2017 – I visited the exhibition “Rock & Pop im Pott” in the Zeche Zollverein in Essen.

The Ruhr region looks back on a long intensive music tradition of different styles.

From punk, wave, rock, jazz, pop, hard rock, heavy metal and techno, many bands have shaped the music, the club scene and the culture of this densely populated industrial Ruhrgebiet in recent decades. Bands such as Herne 3, The Cashiers, Grobschnit, Extra Wide and artists such as Herbert Grönemeyer, Nena and Phillip Boa sprang from this lively scene as well as established concert institutions such as the Rockpalast with its legendary Rockpalast nights in Essen’s Grugahalle.

The makers of the exhibition in the Zeche Zollverein have set out to present a representative cross-section of 60 years of music culture in the Ruhr area. A very exciting idea. Apart from the fact that I am naturally enthusiastic about this topic, I find the venue of this exhibition very great. Old factories and coal mines have always attracted me.

So, after we had moved through assembly lines and huge coal sorting machines, we stood in the stairwell down the path in the said exhibition.

Here, the atmosphere of the huge factory buildings was linked. You could already hear some audio about the music of the epoch exhibited. Short music examples of different artists could be heard here. Fittingly, a small info about the music and its musical-historical classification was projected on a wall by laser. For me that was a very good start to the exhibition.

There are different topics in the exhibition itself.

  • Rock ‘n Roll
  • Beat
  • Music + politics
  • festivals
  • Krautrock
  • punk
  • Metal
  • Ruhr-Pop
  • Techno
  • Hip hop
  • Consumer electronics
  • music equipment
  • The sound of the Ruhr area
  • dance
  • Fashion
  • music industry
  • Events

These topics are outlined by a prologue section (before Rock came to the Ruhr area) and an epilogue section (Rock and Pop Forever). I find this concept really exciting. Through prologue and epilogue interfaces are linked to earlier times and to the present.

In the Prologue, for example, the development of music culture in the Ruhr region since the beginning of the 1930s has become jazz (with the styles Swing, Dixie and Skiffle), Central European music traditions (folk music, operetta, chanson, revue theater) and pop music all the way to rock ‘n’ roll 1950s described. In addition to many influences of foreign music such as the black rhythm and blues from the South of the United States, the ragtime, Charleston, foxtrot of the 1920s, the “Folkwang School of Music, Dance and Speech” (today: Folkwang University of the Arts) is the nucleus of the Music in the Ruhr area.

In the epilogue section you can hear excerpts from interviews with musicians, music managers, media entrepreneurs and event organizers from the Ruhr area. Here I found particularly exciting the interview with Prof. Dieter Gorny, the chairman of the board of the Federal Association of the Music Industry and can tell because of his musical career and experience interesting things to the current music market.

What exactly is curator Christoph Schurian formulated as follows:

“The interviews are about the music scenes in the Ruhr area today. How do artists and entrepreneurs describe the present and the structural change in the music business? What are the latest trends in the industry, how are festivals, clubs and discos developing? So what does it look like, the future of >> Rock and Pop in the Pott <<? “

I am not normally the type of exhibition visitor who reads many texts on the spot and looks at interviews. The topics were so well prepared, well formulated and provided in many places with matching (easy to recall) audio samples that I did not notice how time flies. In all the exhibition areas I could discover and rediscover many interesting things. Photos, records, instruments, clothing, concert reports, band and person portraits in the historical context.

Often I had the “Oh yes it was so” or “Oh, I know that too” – experience. For example, the Philips cassette recorder “WEL 3302”, which we discovered in the late 1970s in a “junk box” in the attic of a friend. Or the memory of the cool jukeboxes, which we were also able to experience live as a teenager in many pubs. I always thought that was very cool as the picking arm caught and laid a single. Then the quite loud crackle. Real cult.

Issued is a copy of the company Bergmann: The model “Symphony 80” from 1957.

Of course, describing the individual exhibition areas in detail breaks the editorial framework of this blog. I recommend the wonderfully designed catalog for the exhibition >> 60 Years of Music in the Ruhr Area <<. This is great designed. All topics of the exhibition are worked up super: a great piece of music history. (Link to the publisher below)

After gaining an overview of the exhibition and having read, experienced and heard a lot, I see a logo I know at the end of a corridor. My heart opens.

As a teenager, I joined pretty much every Rockpalast night with my friends in the early 1980s. It was not always easy, as we only had one TV and I and my buddies occupied the living room all night long until late at night. We often fought against fatigue after the first two bands and experienced the last band with “matches in our eyes”. But it always worked. The music has always won.

The Rockpalast section in the exhibition was a real little celebration for me. Many memories of concerts (in front of the TV or even live) came up. Among other things, tour posters of the Rockpalast concerts and nights were exhibited. Man, that was very exciting. I can still remember the cool presentations by Alan Bangs and Albrecht Metzger.

As I am browsing then the poster of the 11th Rockpalast Night from 16 to 17 October 1982 “falls into my hands”. Man, that was cool back then. The line-up was fantastic and connected me with music I had not heard before (LITTLE STEVEN AND THE DISCIPLES OF SOUL, GIANNA NANNINI and KID CREOLE AND THE COCONUTS). Beside the schedule and some pictures, the catering lists of this concert night hung on the wall next to the show, which I found really exciting. A circle closes … really crazy. (Little Steven already had Japanese tofu on his wish list at the time).

For me and my family it was an exciting and inspiring day in the exhibition and in the Zeche Zollverein. I’ll definitely come back and dive deeper into the mining history of bygone days.


Passion Concert – Interview with Peter Hanschmann

Passion Concert – A journey through music history

Peter Hanschmann lives in Düsseldorf and attends many concerts.

Peter Hanschmann is a music fan through and through.

He does not only live out his great passion in front of the stereo: he visits many concerts, has an incredibly large record collection and is by the way a walking lexicon of rock music history.   A very interesting interviewee for me, I’m just as crazy about music and concerts. By the way, we have once spotted his ticket collection and planned more common “atrocities”.


Some topics

  • Math work after a Kiss concert
  • When Zappa has a bad day
  • Stage show: a must?
  • Sound at concerts
  • The loudest band in the world
  • Ticket prices beyond good and evil
  • Responsibility in the job
  • The birth of an idea


Music in the program

  1. Frank Zappa – Peaches En Regalia , Album: Hot Rats , 1969
  2. The Doctors – Cry for Love , Album: The Beast in Human Form, 1993
  3. Motorhead – Ace of Spades , album: Ace of Spades, 1980
  4. Riddle riddle: The resolution will be available in the next program (with Peter)

“Rock music has been my passion since my youth”

Peter at the interview in the midst of his collected works


Peter’s Little Song – Top Ten (no ranking!)

  • Croby, Stills & Nash: I Allmost Cut My Hair
  • Wolfmother: The Joker And The Thief
  • Motorhead: Overkill
  • David Bowie: Heros
  • Pink Floyd: One Of These Days
  • The Kinks: Waterloo Sunset
  • Lynyrd Skynyrd: Free Bird
  • Rolling Stones: It’s Only Rock’n’Roll, But I Like It
  • Blues Pills: Lady In Gold
  • Faces: Flying

“Dying rock gods – for me, the question arises” How long will they do that? “So I’ll take what I can “

Contemporary Music – Interview with Lara Sophie Schmitt

Music in transition – Between study and practice

Budding musicians often study and perform at the same time. Life in the study, in the job and the simultaneous “being human” is exciting.

Lara Sophie Schmitt is still a student and already a musician. She works a lot, travels and practices where she can. She plays new and old music equally committed and courageous. As part of a complementary philosophy study, she deals with many questions besides passion music.

An exciting reflection on everyday student life and the change in the classical music landscape between old music and modernity.


Some topics of the conversation

  • Study and teacher
  • Targeted work
  • Existence besides study and job
  • repertoire
  • Contemporary music
  • Human and music
  • Learn modern compositions
  • recomposition

Music in the program

  1. Bernd Alois Zimmermann, Sonata for Viola Solo, CD “Noch: Schon – Music on the Threshold”, Acoustic Motion Concepts 2014
  2. Gustav Mahler, Piano Quartet in A minor: 1st movement. Not too fast, CD “Noch: schon – music on the threshold”, Acoustic Motion Concepts 2014
  3. after 2 .:
    Sonata (Rekomposition Mahler Piano Quartet A-Minor), CD “Noch: schon – Music on the Threshold”, Acoustic Motion Concepts 2014


Lara Sophie Schmitt

“You can never be aware of how another person perceives one and the same item.”

Lara Sophie Schmitt

“I always think: every time also produces their art – that describes the zeitgeist.”

Viennese violist Lara Sophie Schmitt began her studies at the Vienna Conservatory, initially on the violin, to change to a viola at the age of 15 as a junior student. She completed her undergraduate studies with Barbara Westphal at the Musikhochschule Lübeck, as well as with Jean Sulem at the Paris Conservatoire de Musique et de Danse. She is currently studying at the Frankfurt University of Music and Performing Arts with Roland Glassl.
Lara Sophie received important musical impulses from Nobuko Imai, Thomas Riebl, Heidi Castleman and Hariolf Schlichtig. From 2005 to 2008 Lara Sophie Schmitt was a member of the “Junge Akademie Wien”, a giftedness program of the Vienna Conservatory, the Vienna University of Music and Performing Arts and the Karajan Center Vienna. In addition to solo and chamber music Lara Sophie Schmitt places special emphasis on the performance of contemporary music.
Since October 2011 she is a scholarship holder of the Cusanuswerk.
Lara Sophie plays a viola by Patrick Robin. The purchase of the instrument was supported by the PE Förderkreis für Studierende der Musik eV


Current CD production

  • Still: Already – music on the threshold, Acoustic Motion Concepts 2014

My first concert was a football game

An exciting musical year

live concert

I’ve interviewed a lot of people in the last 12 months, have been to many concerts, and have shared concert experiences with many people in intensive discussions.

Since then came to me and some friends and girlfriends the idea to report, the euphoria, to let loose and to process the experience entertaining.

And lo and behold: The hard drive (brain and heart) is brimming with little anecdotes around the experience: live concert.


Before we start, I would like to thank all interview partners, supporters and of course dear listeners. I wish you all a relaxed Christmas and a great slide into the next year.

And here’s something out of the Klamottenkiste:

My first concert was a football game

The year is drawing to a close and I have the time to review something and I’m actually back to the year 1979 and then 1983 arrived.

During this time I started to get more interested in music. Clear: Before, I enjoyed a great recorder lessons with our neighbor and some carols on the accordion for the best. But really cool music that went off right, I did not know. There was not at our home (which is really no reproach).

Around the age of 9/10, my grandmother often stayed at our house. I always had to leave my room and stay in the attic instead. Was not a problem, because there was a cool old wardrobe with all sorts of trinkets in it and a clock radio by the bed.

Wow: The universe sound and music was opened. In the evening there were often live concerts on the radio and exciting music shows, such as 1981’s Sondock’s hit parade, which I “stalked” almost every Wednesday.

So also on that said evening: Rod Stewart live. Of course, I had no idea what was happening. The audience went off and what came out of the radio, no doubt tied me. Then this number ” Da Ya Think I’m Sexy? “

This keyboard melody and this power kicked me completely back then. I made the radio directly after the song and tried to remember the melody (of the chorus): Unfortunately it did not work. The next day I could not remember anything. Only many years later did I learn what I had heard back then. The original song is on the ’79 album ” Blondes More More Fun”.

For me, that was the initial spark for love, the enthusiasm for music. My spirit of inquiry was awakened. Only for the medium of music as a listener and later as a player.

After this joyous event, I eventually got an incredibly cool radio cassette player, with which I could hear my first tapes and of course radio. At that time Mel Sondock, with his hit parade and the station BFBS, entered my musical life.


 A short time later in early 1983 I had my first ticket for – no no no concert – but for a football match: Hamburg against Dortmund in Dortmund. (I Hamburg “fan” next to me our neighbor Klaus Dortmund fanatic …) Well, football should not ignite a great passion in me, although the Hamburg sports club has won 2-1 this day.


Anyway, shortly before July / August, I opened the newspaper Prisma at breakfast in the morning and saw Bono’s energetic face. Bono, who was the guy? And who were these U2? No idea, but it was clear to me: You have to get the guys live! Wow, are they playing at the next Rockpalast Festival on the Loreley? Oh no: on 20.08.1983. That can not be true. I thought to myself: I have to go there. Im immediately to the management of our small family and: Rejected. I had to go to football. My first concert and I was not there. And what the Rockpalast had come up with for a line up that day: Stray Cats, Steve Miller Band, Joe Cocker, U2, Dave Edmunds. Pity …


There was a live broadcast of the Rockpalast spectacle on TV. I was able to persuade my mother to record the concert – all bands. Thanks to the little invention called cassette has worked great. There was no dubbing cable. So the recorder was set up close to the TV, the TV turned to maximum volume and kept silent for over 4 hours (which was certainly not easy for my mother and her friend) and schwubbeldiwupp: All the music was in the box. No song was cut off. The two ladies did an excellent job.

I still remember it very well. I came from soccer and was looking forward to it like a little kid, that I could hear the music now. And I was totally flashed. Of course from U2, whose music spoke to me completely from the soul. They were cool. I heard the tape up and down for weeks. But also the other bands did it to me. I found the stylistic range of this very special Rockpalast evening totally interesting.

This evening was for me again the multiplier of that night in the attic of my parents. From then on, with my friends, I’ve looked at everyone but every Rockpalast. We looked at the bands, philosophized about the music and bought the corresponding records, listened to together and later also re-enacted songs. Of course, then we are more and more pilgrimage to concerts and festivals.

I still find some U2 songs from that time really good and I still enjoy listening to them. Some highlights are

  1. At Cat Dubh – Into the Heart
  2. Out of control
  3. Stories for boys
  4. The Electric Co.
  5. I want to follow


Thanks to a lucky coincidence, I am the proud owner of a great vinyl recording “U2 Live at the Marquee London” from the year 1980, which is also the second music example of today’s program.



Thirty Years Lecturer at the Maastricht Conservatory – Interview with Luc Jakobs

Luc Jacobs has been teaching students at the Conservatorium in Maastricht for more than 30 years. Over the years he has gotten his enthusiasm for the music, his profession and his students. 

Luc Jakobs teaches at the Maastricht Conservatory

It’s not commonplace for someone over 30 to work in their profession and still flourish in their work after all these years.

Among other things, he talks about his passion for choral music, about the ability to change things and about working with his students.

Some topics of the conversation

  • High school life
  • Talent and diligence
  • Give and take
  • Johann Sebastian Bach
  • Faith and choral music
  • Miles Davis
  • Know your strengths and weaknesses

Music in the program

  1. “Babylon Sisters”, “Steely Dan”, LP “Gaucho”, 1980 MCA Records Inc.
  2. “Abendlied”, by “Rheinberger”, “Cambridge Singers” on the CD “Lighten Our Darknesss”, 2011 Collegium
  3. “Dona nobis pacem”, “JS Bach”, from “High Mass / B minor” Part 2, Collegium Vocale Gent,
  4. “Dormi Jesu”, “Luc Jakobs”, “Kamerkoor Couleur Vocale”, from the CD “Dormi Jesu”, 2010
  5. “Stella by Starlight”, “Victor Young”, “Miles Davis” on “My Funny Valentine” live in New York, 1964 Sony BMG Music

Luc Jakobs

“If someone is talented and hardworking, it’s a great combination”

Luc Jakobs on stage

Luc Jakobs, born in 1956, grew up in Heythuysen (NL) near Roermond.

At the age of 12, he began to learn clarinet, whereupon he played a short time later at the local music club under the – now well-known – conductor Jan Cober. Inspired by his brother, he started playing guitar at the age of 14. A short time later followed the first attempts in school bands.

The constant love of choral music was awakened at an early age. Luc Jakobs gained his first experience here at the age of 17. After high school he studied school music at the Conservatory in Maastricht. This study was followed by a music theory studies, which he successfully completed after another 4 years. At this time, the study program “Jazz” was newly established at the Conservatorium in Maastricht. He quickly applied for the position as a lecturer in music theory. On the day of his final exam, he had not only passed the same, but also a contract of employment “in his pocket”.

Luc Jakobs has been working at the Conservatorium for over 30 years and teaches students in the fields of jazz, pop, classical and school music in music theory and band coaching. Over the years he has gotten his enthusiasm for the music, his profession and his students. He says himself: “It is important that you always develop new things, otherwise it is no longer interesting […]. I do not always have to give the same lessons. That is deadly. You always have to renew. “

In addition to his work at the Conservatorium Maastricht, Luc Jakobs has been playing with friends for over 10 years in the band “Matchbox”, where they perform the music of Steely Dan. Luc’s great passion for choral music runs through his life. He already worked as a conductor with many choirs. His compositions for choirs are internationally recognized and performed in many countries.

He recently organized a cultural café in Heythuysen at regular intervals. Here people of different professions meet each other for a cultural exchange. (” Cultureel Café De Bombardon”).

Some of his choral works

  • Dormi of Jesus
  • Ecce panis angelorum
  • Hosanna to the Son of David
  • In Flanders fields
  • Nova! Nova!
  • O Kerstnacht
  • O radix Jesse
  • Still, still, still
  • Zingt voor de Heer

Chanson and Pop Music – Interview with Renaud Marquart

Chanson and pop music – A French musician in Germany

Renaud Marquart is French and has been living in Germany for over 25 years

France is just around the corner and yet there are many differences between the German and French music scene.

French singer Renaud Marquart has been living in Germany for over 25 years. Musical roots in France and everyday work in Germany.

Listening to his stories, we embark on an exciting journey between cultures, between chanson and pop music.

Some topics of the conversation

  • The boy from the country is studying music
  • Origins of the song
  • A Frenchman in Germany – feelings for two countries
  • French and German music landscape
  • Croisants and butter
  • A short political interlude

Music in the program

  1. “Plage de transit”, “Renaud Marquart”, CD “Ton corps en mémoire”, 2000
  2. “Funeste Jour”, “Renaud Marquar”, CD “Funeste Jour”, 2003
  3. “Osez Joséphine”, “Alain Bashung”, CD “Confessions Publiques”, 1995
  4. “Pour un sourire atrophié”, “Renaud Marquar”, CD Ribambelle De Matins A Molfetta, 2011

Renaud Marquart

“Every place offers something. It’s the art of rejoicing over what you have – no matter where you are. “

The Renaud Marquart band

Renaud Marquart, born on 09.05.1969 in Mulhouse, about himself:

As a native Frenchman with Italian maternal grandparents and German grandfather and French paternal grandmother, I have been living in Aachen for almost 20 years, where I still feel like a Frenchman. I think in French, write my lyrics and read – especially comics – in French and watch quite a few films in French. Of course, I also do cursing in French. When I’m in France again, and that happens often and I’m fine, I do not remember exactly what I am. On the one hand, because I like to see myself as an outsider, and on the other, when I see who my compatriots choose … Fortunately, the French still make the best croissants !!

Well. What music do (and listen to) … well, what can I say, it’s just my life!

Current projects:

  • Renaud Marquart band
  • Renaud Marquart Duo, solo
  • Irish folk project Oirfa

Discography (excerpt):

  • Ton Corps en Mémoire, Renaud Marquart, (2000, Flotainment)
  • Funeste jour, Renaud Marquart, (2003, Flotainment)
  • Ribambelle De Matins A Molfetta, (2011, La Viviane Productions)

Body Percussion – Interview with Harald Ingenhag

Body Percussion – Human Instrument

There are many ways to immerse yourself in the world of rhythm and body awareness.

Drummer Harald Ingenhag has more than sustained his curiosity for new things. Inspired by the Brazilian Pedro Consorte he has discovered body percussion for himself. Here the body becomes the sound surface. Rhythms are created without any other utensils.

Discover rhythms, rediscover your body: an exciting topic, not just for musicians.

Some topics of the conversation

  • Screwdriver in the eardrum
  • Study and military service
  • Bodypercussion on stage
  • Listen to music without speaking
  • Inspiration literature
  • Accolade from the colleague

Music in the program

  1. “Bye Bye Blackbird”, “Ray Henderson”, Live Jam with S. Decker and V. Heinze, 2016
  2. “Aja”, “Steely Dan”, from the CD “Aja”, UMG Recordings 1977
  3. “Le Petit Marcel Va Au Lit”, “Cattleya”, CD “Le Temps Perdu”, Rent A Dog 2004
  4. “Orange Bazar”, “Frank Sichmann Trio”, CD “Talking Horizon”, Greenhouse Music 2014

Harald Ingenhag

“I like to remember this music enjoyment: time stops, everything else can wait.”

Harald Ingenhag live

Harald Ingenhag, born in 1964, began playing drums at the age of nine. At the same time he learned accordion, but he gave it up after four years. Soon he was playing in bands and had great fun trying out, rehearsing, playing sessions, performing on this instrument.
Making music (including singing, for example, to open up Reinhard Mey songs on the guitar, later playing the piano) was a matter of course for him since his childhood. Just like the intense listening to music that he has celebrated with his friends. “… and we did not speak …”.
After graduating from high school, however, he first studied German language and philosophy at the Heinrich Heine University in Dusseldorf to pursue a teaching career. However, a friend at the time confused these plans by persuading him to take the entrance exam for music studies at the University of Duisburg / Gesamthochschule Duisburg.

And so it happened that he found himself unexpectedly as a musician. Bands were formed, and he eagerly embarked on his studies, which was a lot of fun and opened his eyes: “Yes, I wanted to be a musician!” He received lessons in percussion, singing and piano, then began at the age of about twenty. to write first pieces and pursued this until he finally founded his own trio: Cattleya. For this ensemble (with Michel Bisceglia / piano and Volker Heinze / bass) he also wrote most of the compositions. The collaboration lasted for about twenty years, four CDs were released during this period.

For about 9 years he has been busy – inspired by the Brazilian Pedro Consorte -intensive with body percussion.

He says himself: “As a drummer I was used to banging on myself – which, incidentally, did not always meet with approval when I was in company – but on the idea of ‚Äč‚Äčthese different sounds (clapping , Beatings on the chest and thighs, finger flips and footsteps) as it were systematically to arrange and to coordinate, in order to create quite “serious” grooves, I had not come until then.

In addition to his steadily growing body percussion student body, Harald Ingenhag teaches drums and plays in music projects of various styles.

Current projects (excerpt):

  • Falk Grieffenhagen Quartet
  • Frank Sichmann Trio
  • Bodypercussion courses regional and national

Discography (excerpt):

  • Thomas Kessler Group, (Laika Records 1990)
  • Thomas Kessler Group, Untitled, (Laika Records 1990)
  • Cattleya, Le Temps Perdu, (rent a dog 2000)
  • Cattleya, Madeleine, (rent a dog 2003)
  • Cattleya, Diary, (Prova Records 2007)
  • Frank Sichmann Trio, Talking Horizon, (Greenhouse Music 2014)

Symbiosis Band – Interview with Jonas Burgwinkel

Symbiosis Band – shared feeling of suspense

a  href=''Jonas Burgwinkel/a, drummer and co-founder of Klaeng in Cologne

Who does not know that: children who knock on pots with kitchen utensils and demand a lot of patience from their parents and neighbors. First steps in music and rhythm.

The drummer Jonas Burgwinkel has done similar things in his early childhood. It quickly became clear that the early childhood percussive experiments are not ephemera.

In the meantime he is one of the internationally most wanted drummers in his mid 30s. His in-depth musical experience, the ability to immerse himself in the music and his willingness to go out of his comfort zone again and again, makes him a coveted fellow musician in various band projects.

In today’s program, Jonas Burgwinkel gives interesting impressions on his development, on working in a band context, and on his responsible job of preparing young students for working life.

Some topics of the conversation

  • Get out of the comfort zone
  • Make music using life
  • The Klaeng collective
  • Play inside and outside a form
  • Work with DJ
  • Development of the musical personality

Music in the program

  1. “What I dit”, CD “Side B” (live from the Stecken in Cologne), “Klaeng Records”, 2016
  2. “So tender”, “Keith Jarrett”, “Standards Vol. 2”, 1985
  3. “Circles and calligrams”, “Medusa Beats” ( Benoit Delbecq_keys | Petter Eldh_b | Jonas Burgwinkel_dr), live, 2015
  4. “In a silent way”, “Joe Zawinul”, CD “Side B” (live from the Stecken in Cologne), “Klaeng Records”, 2016

Jonas Burgwinkel

“I had a lot of energy as a child. These days I would have gotten Ritalin – in the past, they built themselves drums “

Jonas Burgwinkel in the music on set

Jonas Burgwinkel was born in 1981 in Aachen and currently lives in Cologne. He is an outstanding jazz drummer, internationally sought after for his unique style of playing.

He innovatively blends classical jazz with avant-garde improvisation. Numerous awards, including the “ECHO JAZZ 2012”, the SWR and WDR Jazz Awards, the “BEST SOLOIST AWARD” at the North Sea Jazz Festival, as well as over 50 CDs and countless radio and television recordings document the success of his musical work.

This goes far beyond the national borders: Burgwinkel plays worldwide, with jazz greats such as John Scofield, Chris Potter, Uri Caine, Dave Liebman, Lee Konitz or John Taylor.

A particularly intense musical collaboration exists with the internationally present Pablo Held Trio, who recorded a live CD with the guitarist John Scofield in 2014 in the Kölner Philharmonie.

In addition to his concert career Jonas Burgwinkel is involved as a co-founder of the Cologne jazz collective KLAENG as a concert promoter, with intensive networking and own label. In 2011, Jonas Burgwinkel followed an appointment as professor of jazz drums at the Cologne University of Music and Dance. He himself says, “You can help students listen to their preferences and teach them how to systematically build things and use them well beyond their studies.”

In addition to his varied activities as a sideman, he released his first own CD “Source Direct” in 2011 and the live CD “Side B” in 2016.

Current projects (excerpt):

  • Source Direct
  • Pablo hero trio
  • Sternal Symphonic Society
  • Jonas Burgwinkel Solo
  • Frederik Köster “The Transfiguration”
  • Medusa Beats

Discography (excerpt):

  • Jonas Burgwinkel, Source Direct, (Dream Tone 2011)
  • Pablo Held Trio Live, (Pirouet 2012)
  • Sebastian Sternal, Sternal Symphonic Society (Dream Tone 2012)
  • Pablo Held Trio meets John Scofield, (Pirouet 2014)
  • Frederik Kösters The Transformation, Tension / Release, (Dream Tone 2015)
  • Jonas Burgwinkel, Side B, (Klaeng Records 2015)
  • Peter Ehwald, Double Trouble, (Jazz Workshop 2015)

The Power of the Ears – Interview with Felix Curdes

The power of the ears – cast and hang up

a  href=''Felix Curdes/a is a piano tuner, piano and harpsichord maker and DJ

Listening is not self-evident today. Interlinked with multimedia, we continuously receive information.

Not only visually but also auditory. We are surrounded by a huge background noise. Often we are saturated with these things. The ear “makes tight”.

But what if the ear has to be ready for the next use? For example, when tuning a piano or playing music as a DJ.

Felix Curdes has been working in both disciplines for over 21 years. The ability to listen and listen connects both workspaces. Felix tells about the works of a piano maker, the art of listening and about his way to independence.

Some topics of the conversation

  • The craft of the piano maker
  • The power of the ears
  • Hearing: Absolute or relative?
  • After 21 years of permanent employment in self-employment
  • Hang up old school
  • When the computer takes over the helm

Music in the program

  1. “You can not hurry love”, “Phil Collins”, from the album “Hello, I Must Be Going”, 1982
  2. “I want to survive”, “Gloria Gaynor”, from the album “Love Tracks”, 1978
  3. “Air”, “JS Bach”, from “Suite No. 3”, “Royal Philharmonic Orchestra”, 2007

Felix Curdes

“I did not want to become the keyboard-playing solo entertainer who makes the big Max.”

Felix Curdes concentrates at work

Born in Vietnam in 1969, Felix Curdes came to Germany at the age of one.

After completing his schooling in Aachen in 1988, he moved to Braunschweig, where he began training as a piano maker at the Grotrian-Steinweg pianoforte factory. He graduated in 1993 with the journeyman’s examination. In the same year he found employment in a renowned piano business near Aachen. As part of this 21-year employment, he was able to deepen his extensive knowledge.

His competence and his sympathetic, affable manner make him a sought after partner among his customers.

Almost simultaneously with his apprenticeship as a piano maker Felix Curdes built a very good reputation as a DJ. Here, too, he can look back on more than 21 years of DJ set experience.

For economic reasons (like many employees in the piano industry) he was subject to staff cuts in 2015 and left “his” company on 01.08.2015.

Only a short time later, Felix Curdes decided to go into self-employment.

Urban Street Arts – Interview with Jonas Wilms

Urban Street Arts – Ultimate groove to the show

Jonas Wilms plays on the Urbanatix

Participating in a big show like the Urbanatix in Bochum is a big challenge for all actors and also for the whole team.

In addition to artistic handicraft requirements, the social competence and the team spirit of all protagonists is in demand.

The Dortmund musician Jonas Wilms is one of two drummers who provide live beats and groove in the show. Urbanatix is, he says, “a huge family that understands itself very positively”. Inspired by this, he talks about the show, challenges in the show and the tremendous motivation boost he has received in this stage of his musical life.

Some topics of the conversation

  • Musical basics from the Waldorf school
  • Urbanatix: The Urban Street Arts Show
  • Habitat Ruhrgebiet
  • Understanding craftsmanship: technology and sound on the drum set
  • Play with Click
  • Success and luck

Music in the program

  1. “Parallel Universe”, “Moses”, from ep “Page A”, 2015
  2. “Leave It Alone”, “Living Color”, “What’s Your Favorite Color?”, 2009
  3. “Mission Impossible”, “Bergmann & Bartkowski”, “On a movie trip”, 2012
  4. “Crazy”, “S Barkley”, Version of “The Lounge Experiment”, 2014

Jonas Wilms

“You have to be in the service of the show and the song”

Jonas Wilms live in action

Drummer Jonas Wilms, born in Dortmund in 1980, studied jazz drums at the ArtEZ Conservatory and then completed a master’s degree at the Messiaen Academy, both based in Enschede, the Netherlands.

On a regular basis, Jonas Wilms accompanies renowned artists such as Cosmo Klein, Peter Beets, Linley Marthe (ex-The Zawinul Syndicate), Mark Nightingale (Robbie Williams, Spice Girls), Nippy Noya, Vanessa Patruo (ex No Angels), Dian Pratiwi, The Wolf and many more

In his creative, precise and technically savvy game, the passion of jazz merges with the energy of rock and the groove of hip-hop – live and in the studio.

Since 1998 he works as a drum teacher at various music schools. Jonas Wilms lives in Dortmund.

Current projects (excerpt):

MOSES, Soul / Pop
Lounge experiment, lounge / pop
Urbanatix, Urban Street Dance Show
Raggata de Blanc, Tributes to the Police
Erwin Machulke and the KuWaSchies, Showtunes
Bergman & Bartkowski, Movie Trips