Jannotta Klentze Project
The Jannotta-Klentze-Project is a sextet that draws new sparks from the jazz tradition.
This band loves original compositions that are harmonically dense, multicolored and polyphonic and combines them with modern swing and Latin rhythms.
Two strong brass instruments, a versatile female voice, a distinctive guitar, a grooving one´Bass and drums team – we hear an unusual line-up in a completely genuine live sound. H.J.Schaal
The ensemble initiated by Roger Jannotta and Thorsten Klentze does not follow the usual clichés: “Band accompanies singer”. - Rather, there are 6 equal partners here who know how to enchant with catchy melodies, but also like to try out crazy things as soloists. This creates complex sound images over the compositions of the two band leaders.
Natalie Elwood earned her Master of Music in jazz singing at the Munich University of Music and Theater in 2014. She attended master classes with Becca Stevens, Theo Bleckmann, Lauren Newton and Sheila Jordon and was a scholarship holder of the Yehudi Menuhin Live Music Now Foundation for six years. She can be seen on national and international stages with her own projects such as “Elwood & Reßle”. As a singer, she has already made guest appearances with Bobby McFerrin's 12-piece vocal ensemble and as a voice in the trumpet section of the Jazzrausch Big Band.
Roger Jannotta studied first at the University of New Mexico, then at the New England Conservatory
in Boston, and then worked as a lecturer at the Berklee College of Music.
In 1976 he came to Europe with Tom Van Der Geld's “Children At Play”. Recordings for ECM and numerous tours through Europe followed. In 1978 he moved to Munich, where he became a member of the experimental group “Between” around Peter Michael Hamel. From 1979 he worked in the “Unique Munich Saxophone Choir”. In the 80s he composed theater music for Dieter Dorn at the Munich Kammerspiele. Around 1990 he recorded and toured with Michael Mantler and Carla Bley's big band. He became a member of the Munich “ICI Ensemble”, led the “Passauer Jazz Orchestra”, arranged for the “Big Band des Hessischer Rundfunk” and the Munich group “Blech Schaden”. In 2013, the “Jannotta Klentze Project” played its debut concert in the Unterfahrt jazz club.
Mathias Engl: After studying physics and two more years of research, he studied jazz at the University of North Texas. His path took him through the South German scene through bands of all styles in small and large line-ups. He was and can be heard as a soloist in the big bands of Harald Rüschenbaum,
Dusko Goykovich, Al Porcino, Thomas Bendzko, Earforce and Christian Elsässer, as well as in the Unterbiberger Hofmusik. He has had a musical partnership with Thorsten Klentze that has spanned almost 20 years.
Thorsten Klentze began as a folk guitarist and singer and between 1972-76 had regular appearances in Hamburg clubs, Dennis Pan, Logo and Onkel Pö, as well as at the Tønder Folk Festival. In 1981 he came to Munich and developed his musical style as a sideman and leader in various projects.
In 1984 the group “Fisherman's Break” was formed. which regularly toured twice a year until 1994.
In 1995 he recorded the CD “Tigrib” with saxophonist Charlie Mariano, Marika Falk and Jost H. Hecker. Three years later the multi-instrumentalist and composer Roger Jannotta joined the quartet. Numerous concerts and CD productions followed, including one with the vibraphonist David Friedman. Roger Jannotta remained a loyal partner and a constant inspiration throughout the years.
Paul Tietze is a bassist, producer, arranger and composer living in Munich. He studied bass, arranging and composition at the Berkelee College of Music in Boston (USA). At the beginning of his career he played numerous concerts and tours with, among others, Lisa Fitz, Johnny Logan, Franz Benton and the Munich Symphonic Sound Orchestra. During his studies in Boston he had the opportunity to play a lot of salsa, merengue, big band jazz and in smaller jazz ensembles. Back in Munich he played with the Weather Girls, the Thilo Wolf Big Band, Carola Gray and Noisy Mama, had several engagements at the Munich State Opera and worked as musical director of Lou Bega and other projects. In the following years he wrote numerous arrangements for various bands and projects.
Thomas Elwenspoek studied drums at the Richard Strauss Conservatory in Munich.
He also attended master classes with Max Roach, Lewis Nash, Enrico Rava, among others, and took private lessons with Carl Allen and Billy Hart, among others.
His stylistic openness led to collaborations with various jazz formations in and around Munich,
from French chansons with the Corinne Chatel Quintet, Italian canzoni with the Alex De Santis Quartet to contemporary modern with Franz Dannerbauer's Music Liberation Unit.
In recent years he has played with, among others, the Barbara Roberts Quintet, Werner Riedel's Heart Bop Connection, feat. Peter Tuscher and recently with the Munich Hard Bop Sextet.
This band loves original compositions that are harmonically dense, multicolored and polyphonic and combines them with modern swing and Latin rhythms.
Two strong brass instruments, a versatile female voice, a distinctive guitar, a grooving one´Bass and drums team – we hear an unusual line-up in a completely genuine live sound. H.J.Schaal
The ensemble initiated by Roger Jannotta and Thorsten Klentze does not follow the usual clichés: “Band accompanies singer”. - Rather, there are 6 equal partners here who know how to enchant with catchy melodies, but also like to try out crazy things as soloists. This creates complex sound images over the compositions of the two band leaders.
Natalie Elwood earned her Master of Music in jazz singing at the Munich University of Music and Theater in 2014. She attended master classes with Becca Stevens, Theo Bleckmann, Lauren Newton and Sheila Jordon and was a scholarship holder of the Yehudi Menuhin Live Music Now Foundation for six years. She can be seen on national and international stages with her own projects such as “Elwood & Reßle”. As a singer, she has already made guest appearances with Bobby McFerrin's 12-piece vocal ensemble and as a voice in the trumpet section of the Jazzrausch Big Band.
Roger Jannotta studied first at the University of New Mexico, then at the New England Conservatory
in Boston, and then worked as a lecturer at the Berklee College of Music.
In 1976 he came to Europe with Tom Van Der Geld's “Children At Play”. Recordings for ECM and numerous tours through Europe followed. In 1978 he moved to Munich, where he became a member of the experimental group “Between” around Peter Michael Hamel. From 1979 he worked in the “Unique Munich Saxophone Choir”. In the 80s he composed theater music for Dieter Dorn at the Munich Kammerspiele. Around 1990 he recorded and toured with Michael Mantler and Carla Bley's big band. He became a member of the Munich “ICI Ensemble”, led the “Passauer Jazz Orchestra”, arranged for the “Big Band des Hessischer Rundfunk” and the Munich group “Blech Schaden”. In 2013, the “Jannotta Klentze Project” played its debut concert in the Unterfahrt jazz club.
Mathias Engl: After studying physics and two more years of research, he studied jazz at the University of North Texas. His path took him through the South German scene through bands of all styles in small and large line-ups. He was and can be heard as a soloist in the big bands of Harald Rüschenbaum,
Dusko Goykovich, Al Porcino, Thomas Bendzko, Earforce and Christian Elsässer, as well as in the Unterbiberger Hofmusik. He has had a musical partnership with Thorsten Klentze that has spanned almost 20 years.
Thorsten Klentze began as a folk guitarist and singer and between 1972-76 had regular appearances in Hamburg clubs, Dennis Pan, Logo and Onkel Pö, as well as at the Tønder Folk Festival. In 1981 he came to Munich and developed his musical style as a sideman and leader in various projects.
In 1984 the group “Fisherman's Break” was formed. which regularly toured twice a year until 1994.
In 1995 he recorded the CD “Tigrib” with saxophonist Charlie Mariano, Marika Falk and Jost H. Hecker. Three years later the multi-instrumentalist and composer Roger Jannotta joined the quartet. Numerous concerts and CD productions followed, including one with the vibraphonist David Friedman. Roger Jannotta remained a loyal partner and a constant inspiration throughout the years.
Paul Tietze is a bassist, producer, arranger and composer living in Munich. He studied bass, arranging and composition at the Berkelee College of Music in Boston (USA). At the beginning of his career he played numerous concerts and tours with, among others, Lisa Fitz, Johnny Logan, Franz Benton and the Munich Symphonic Sound Orchestra. During his studies in Boston he had the opportunity to play a lot of salsa, merengue, big band jazz and in smaller jazz ensembles. Back in Munich he played with the Weather Girls, the Thilo Wolf Big Band, Carola Gray and Noisy Mama, had several engagements at the Munich State Opera and worked as musical director of Lou Bega and other projects. In the following years he wrote numerous arrangements for various bands and projects.
Thomas Elwenspoek studied drums at the Richard Strauss Conservatory in Munich.
He also attended master classes with Max Roach, Lewis Nash, Enrico Rava, among others, and took private lessons with Carl Allen and Billy Hart, among others.
His stylistic openness led to collaborations with various jazz formations in and around Munich,
from French chansons with the Corinne Chatel Quintet, Italian canzoni with the Alex De Santis Quartet to contemporary modern with Franz Dannerbauer's Music Liberation Unit.
In recent years he has played with, among others, the Barbara Roberts Quintet, Werner Riedel's Heart Bop Connection, feat. Peter Tuscher and recently with the Munich Hard Bop Sextet.
Das Jannotta-Klentze-Project ist ein Sextett, das aus der Jazztradition neue Funken schlägt.
Diese Band liebt originelle Kompositionen, die harmonisch dicht sind, vielfarbig und polyphon
und kombiniert sie mit modernen Swing- und Latin-Rhythmen.
Zwei starke Bläser, eine vielseitige Frauenstimme, eine markante Gitarre, ein groovendes
Bass-und-Schlagzeug-Team – wir hören eine ungewöhnliche Besetzung in einem ganz unverfälschten Live-Sound.
H.J.Schaal
Das von Roger Jannotta und Thorsten Klentze initiierte Ensemble folgt nicht den gewohnten Klischees: “Band begleitet Sängerin“. - Vielmehr finden sich hier 6 gleichberechtigte Partner, die es verstehen, mit einschmeichelnden Melodien zu verzaubern, aber auch solistisch gerne mal verrückte Dinge ausprobieren. So entstehen vielschichtige Klangbilder über den Kompositionen der beiden Bandleader.
Natalie Elwood erwarb 2014 im Fach Jazzgesang ihren Master of Music an der Hochschule für Musik
und Theater München. Sie besuchte Meisterkurse bei Becca Stevens, Theo Bleckmann, Lauren Newton
und Sheila Jordon und war sechs Jahre lang Stipendiatin der Stiftung Yehudi Menuhin Live Music Now.
Mit ihren eigenen Projekten wie „Elwood & Reßle“ ist sie auf nationalen und internationalen Bühnen zu
sehen. Als Sängerin gastierte sie bereits u.a. bei Bobby McFerrins 12-köpfiges Vocalensemble und als
Stimme im Trompetensatz bei der Jazzrausch Bigband. www.natalie-elwood.de
Roger Jannotta studierte zunächst an der University of New Mexico, dann am New England
Conservatory in Boston, war dann am Berklee College of Music als Dozent tätig.
1976 kam er mit Tom Van Der Gelds „Children At Play“ nach Europa. Es folgten Aufnahmen für ECM
und zahlreiche Tourneen durch Europa. 1978 zog er nach München, wo er Mitglied der
Experimentalgruppe „Between“ um Peter Michael Hamel wurde. Ab 1979 dann Mitarbeit im „Unique
Munich Saxophon Choir“. In der 80er Jahren komponierte er Theatermusik für Dieter Dorn an den
Münchner Kammerspielen. Um 1990 machte er Aufnahmen und tourte mit Michael Mantler und der
Bigband von Carla Bley. Er wurde Mitglied im Münchner „ICI Ensemble“, leitete das „Passauer Jazz
Orchester“,arrangierte für die „Big Band des Hessischen Rundfunks“ und die Münchner Gruppe
„Blechschaden“. 2013 spielte das „Jannotta Klentze Project“ sein Debutkonzert im Jazzclub Unterfahrt.
Mathias Engl: Nach einem Physikstudium und zwei weiteren Jahren in der Forschung studierte er an der
University of North Texas Jazz. Sein Weg führte ihn über Bands aller Stilrichtungen in kleinen und
großen Besetzungen durch die Süddeutsche Szene. In den Bigbands von Harald Rüschenbaum, Dusko
Goykovich, Al Porcino, Thomas Bendzko, Earforce und Christian Elsässer, wie auch bei der
Unterbiberger Hofmusik war und ist er als Solist zu hören. Mit Thorsten Klentze verbindet ihn eine fast
20-jährige musikalische Partnerschaft.
Thorsten Klentze begann als Folkgitarrist und Sänger und hatte zwischen 1972-76 regelmäßige Auftritte
in Hamburger Clubs, Dennis Pan, Logo und im Onkel Pö, sowie auf dem Tønder Folk Festival. 1981
kam er nach München und entwickelte seinen musikalischen Stil als Sideman und Leader in
verschiedenen Projekten. 1984 formierte sich die Gruppe „Fisherman`s Break“,
die bis 1994 regelmäßig zweimal jährlich tourte. 1995 spielte er mit dem Saxophonisten Charlie
Mariano, Marika Falk und Jost H. Hecker die CD „Tigrib“ ein. 1998 kam der Multiinstrumentalist und
Komponist Roger Jannotta ins` Quartett. Es folgten zahlreiche Konzerte und CD Produktionen, unter
anderem, mit dem Vibraphonisten David Friedman. Roger Jannotta blieb ein treuer Partner und eine
stetige Inspiration über all die Jahre. www.klentze.de
Paul Tietze ist ein in München lebender Bassist, Produzent, Arrangeur und Komponist. Er studierte
Bass, Arrangement und Komposition am Berkelee College Of Music in Boston (USA). Am Anfang
seiner Karriere spielte er bereits zahlreiche Konzerte und Tourneen unter anderem mit Lisa Fitz, Johnny
Logan, Franz Benton und dem Munich Symphonic Sound Orchestra. Während seinem Studium in Boston
bekam er die Gelegenheit viel Salsa, Merengue, Big Band Jazz und in kleineren Jazz Ensembles zu
spielen. Zurück in München spielte er mit den Weather Girls, der Thilo Wolf Big Band, Carola Grey and
Noisy Mama, hatte einige Engagements an der Münchner Staatsoper und arbeitete als Musikalischer
Leiter von Lou Bega und anderen Projekten. In den folgenden Jahren schrieb er zahlreiche
Arrangements für verschiedene Bands und Projekte. www.paultietze.de
Thomas Elwenspoek studierte Schlagzeug am Richard-Strauss-Konservatorium in München.
Zusätzlich besuchte er Meisterklassen u.a. mit Max Roach, Lewis Nash, Enrico Rava und nahm
Privatunterricht u.a. bei Carl Allen und Billy Hart.
Seine stilistische Offenheit führten zur Zusammenarbeit mit verschiedenen Jazz-Formationen in und um
München, von französischen Chansons mit dem Corinne Chatel Quintett, - italienischen Canzoni mit
dem Alex De Santis Quartett bis hin zu contemporary modern mit Franz Dannerbauers Music Liberation
Unit.
In den letzten Jahren spielt er u.a. mit dem Barbara Roberts Quintett, Werner Riedels Heart Bop
Connection, feat. Peter Tuscher und seit kurzem mit dem Munich Hard Bop Sextett.
Diese Band liebt originelle Kompositionen, die harmonisch dicht sind, vielfarbig und polyphon
und kombiniert sie mit modernen Swing- und Latin-Rhythmen.
Zwei starke Bläser, eine vielseitige Frauenstimme, eine markante Gitarre, ein groovendes
Bass-und-Schlagzeug-Team – wir hören eine ungewöhnliche Besetzung in einem ganz unverfälschten Live-Sound.
H.J.Schaal
Das von Roger Jannotta und Thorsten Klentze initiierte Ensemble folgt nicht den gewohnten Klischees: “Band begleitet Sängerin“. - Vielmehr finden sich hier 6 gleichberechtigte Partner, die es verstehen, mit einschmeichelnden Melodien zu verzaubern, aber auch solistisch gerne mal verrückte Dinge ausprobieren. So entstehen vielschichtige Klangbilder über den Kompositionen der beiden Bandleader.
Natalie Elwood erwarb 2014 im Fach Jazzgesang ihren Master of Music an der Hochschule für Musik
und Theater München. Sie besuchte Meisterkurse bei Becca Stevens, Theo Bleckmann, Lauren Newton
und Sheila Jordon und war sechs Jahre lang Stipendiatin der Stiftung Yehudi Menuhin Live Music Now.
Mit ihren eigenen Projekten wie „Elwood & Reßle“ ist sie auf nationalen und internationalen Bühnen zu
sehen. Als Sängerin gastierte sie bereits u.a. bei Bobby McFerrins 12-köpfiges Vocalensemble und als
Stimme im Trompetensatz bei der Jazzrausch Bigband. www.natalie-elwood.de
Roger Jannotta studierte zunächst an der University of New Mexico, dann am New England
Conservatory in Boston, war dann am Berklee College of Music als Dozent tätig.
1976 kam er mit Tom Van Der Gelds „Children At Play“ nach Europa. Es folgten Aufnahmen für ECM
und zahlreiche Tourneen durch Europa. 1978 zog er nach München, wo er Mitglied der
Experimentalgruppe „Between“ um Peter Michael Hamel wurde. Ab 1979 dann Mitarbeit im „Unique
Munich Saxophon Choir“. In der 80er Jahren komponierte er Theatermusik für Dieter Dorn an den
Münchner Kammerspielen. Um 1990 machte er Aufnahmen und tourte mit Michael Mantler und der
Bigband von Carla Bley. Er wurde Mitglied im Münchner „ICI Ensemble“, leitete das „Passauer Jazz
Orchester“,arrangierte für die „Big Band des Hessischen Rundfunks“ und die Münchner Gruppe
„Blechschaden“. 2013 spielte das „Jannotta Klentze Project“ sein Debutkonzert im Jazzclub Unterfahrt.
Mathias Engl: Nach einem Physikstudium und zwei weiteren Jahren in der Forschung studierte er an der
University of North Texas Jazz. Sein Weg führte ihn über Bands aller Stilrichtungen in kleinen und
großen Besetzungen durch die Süddeutsche Szene. In den Bigbands von Harald Rüschenbaum, Dusko
Goykovich, Al Porcino, Thomas Bendzko, Earforce und Christian Elsässer, wie auch bei der
Unterbiberger Hofmusik war und ist er als Solist zu hören. Mit Thorsten Klentze verbindet ihn eine fast
20-jährige musikalische Partnerschaft.
Thorsten Klentze begann als Folkgitarrist und Sänger und hatte zwischen 1972-76 regelmäßige Auftritte
in Hamburger Clubs, Dennis Pan, Logo und im Onkel Pö, sowie auf dem Tønder Folk Festival. 1981
kam er nach München und entwickelte seinen musikalischen Stil als Sideman und Leader in
verschiedenen Projekten. 1984 formierte sich die Gruppe „Fisherman`s Break“,
die bis 1994 regelmäßig zweimal jährlich tourte. 1995 spielte er mit dem Saxophonisten Charlie
Mariano, Marika Falk und Jost H. Hecker die CD „Tigrib“ ein. 1998 kam der Multiinstrumentalist und
Komponist Roger Jannotta ins` Quartett. Es folgten zahlreiche Konzerte und CD Produktionen, unter
anderem, mit dem Vibraphonisten David Friedman. Roger Jannotta blieb ein treuer Partner und eine
stetige Inspiration über all die Jahre. www.klentze.de
Paul Tietze ist ein in München lebender Bassist, Produzent, Arrangeur und Komponist. Er studierte
Bass, Arrangement und Komposition am Berkelee College Of Music in Boston (USA). Am Anfang
seiner Karriere spielte er bereits zahlreiche Konzerte und Tourneen unter anderem mit Lisa Fitz, Johnny
Logan, Franz Benton und dem Munich Symphonic Sound Orchestra. Während seinem Studium in Boston
bekam er die Gelegenheit viel Salsa, Merengue, Big Band Jazz und in kleineren Jazz Ensembles zu
spielen. Zurück in München spielte er mit den Weather Girls, der Thilo Wolf Big Band, Carola Grey and
Noisy Mama, hatte einige Engagements an der Münchner Staatsoper und arbeitete als Musikalischer
Leiter von Lou Bega und anderen Projekten. In den folgenden Jahren schrieb er zahlreiche
Arrangements für verschiedene Bands und Projekte. www.paultietze.de
Thomas Elwenspoek studierte Schlagzeug am Richard-Strauss-Konservatorium in München.
Zusätzlich besuchte er Meisterklassen u.a. mit Max Roach, Lewis Nash, Enrico Rava und nahm
Privatunterricht u.a. bei Carl Allen und Billy Hart.
Seine stilistische Offenheit führten zur Zusammenarbeit mit verschiedenen Jazz-Formationen in und um
München, von französischen Chansons mit dem Corinne Chatel Quintett, - italienischen Canzoni mit
dem Alex De Santis Quartett bis hin zu contemporary modern mit Franz Dannerbauers Music Liberation
Unit.
In den letzten Jahren spielt er u.a. mit dem Barbara Roberts Quintett, Werner Riedels Heart Bop
Connection, feat. Peter Tuscher und seit kurzem mit dem Munich Hard Bop Sextett.
RELEASES
Lineup
Natalie Elwood - Vocals
Mathias Engl - Trumpet / Fluegelhorn
Roger Jannotta - Woodwinds
Thorsten Klentze - Guitar
Paul Tietze - Bass
Thomas Elwenspoek - Drums
Mathias Engl - Trumpet / Fluegelhorn
Roger Jannotta - Woodwinds
Thorsten Klentze - Guitar
Paul Tietze - Bass
Thomas Elwenspoek - Drums
Details
Catalogue Number
UTR 5120
Recording Engineer
Mixing Engineer
Additional recordings, cutting and editing of the soundtracks by Lori Lorenzen, FLUXX recording studio.
Mix and mastering by Gerold Heitbaum at GHTonstudio in Dessau.
Mastering Engineer
Recorded March 2022 at REALISTIC SOUND STUDIO in Munich, by Florian Östreicher.
Album Duration
Genre
Jazz
Release Date
27.10.2023
Description
G R A T I T U D E
J A N N O T T A – K L E N T Z E – P R O J E C T
NATALIE ELWOOD CHANTEUR
MATHIAS ENGL TROMPETTE/FLUEGELHORN
ROGER JANNOTTA SAXOPHONE TÉNOR/FLÛTE
THORSTEN KLENTZE GUITARE
PAUL TIETZE BASSE
THOMAS ELWENSPOEK BATTERIE
Enregistré en mars 2022 au REALISTIC SOUND STUDIO à Munich, par Florian Östreicher.
Enregistrements complémentaires, découpage et montage des bandes sonores par Lori Lorenzen, studio d'enregistrement FLUXX.
Mixage et mastering par Gerold Heitbaum au GHTonstudio à Dessau.
Photos du groupe par Nicolas Röpfl
Sponsorisé par « NEUSTART KULTUR »
Produit par Roger Jannotta et Thorsten Klentze
Producteur exécutif : Harald Haerter
Grâce aux bourses NEUSTARTKULTUR de la République fédérale d'Allemagne, nous avons pu realiser cet enrigistement avec ce groupe de rêve au printemps 2022. Pour la première fois de notre carrière, nous avons pu payer les répétitions et récompenser le travail artistique de nos collègues par des salaires décents.
Un grand merci à Natalie, Mathias, Paul et Thomas pour leur précieux engagement dans ce projet.
Nous avons enregistré en mars 2022 au REALISTIC SOUND STUDIO à Munich.
Un grand merci à Florian Östreicher pour son excellent travail.
Un grand merci à Lori Lorenzen, FLUXX-Tonstudio, pour le grand soutien de cette production, incluant le montage, le découpage et le montage des bandes sonores.
La production a été mixée au GHTonstudio de Dessau par Gerold Heitbaum. Merci pour tes oreilles ouvertes et les merveilleux moments que nous avons passé ensemble à Dessau.
Un grand merci à Carsten Neder (GRAFIKSUITE) pour ce chef-d'œuvre graphique.
Un grand merci à Birgit Klentze pour les belles images de fond du magazine -
et enfin, un grand merci à Nikolaus Röpfl (Käpt'n Klus) pour les portraits des musiciens et les photos du groupe.
CORONATION BLUES
musique: Thorsten Klentze
TK : En mars 2021, la « pandémie de coronavirus » nous a frappés et le confinement nous a tous contraints à rentrer dans notre vie privée. Au-delà de toutes les peurs et des pertes que j'ai perçues dans mon environnement, l'espoir s'est réveillé en moi que je vivrais un COURONNEMENT de toute l'humanité - à travers le passage de l'inconscient au conscient.
Chacun de nous, un véritable souverain!
Un vrai souverain ne connaît aucune peur de la vie ou de la mort.
Un vrai souverain ne domine ni ne se soumet.
Un véritable souverain est au service de la vie et des hommes.
Un nouvel ordre mondial, uni dans l’amour, reste une magnifique possibilité, ouverte aux êtres souverains.
ONLY UTOPIAS ARE REALISTIC
musique/texte: Thorsten Klentze
TK : Les utopies naissent de l’indignation face à des conditions insupportables et ouvrent la perspective d’un monde meilleur, d’une communauté plus juste. Ils recèles l’espoir d’un changement.
Isn't it utopian to believe
that things can go on as before?
Clinging to old ways, is naive
when stuck in this mess more and more.
But don't let us be too fatalistic
only utopias are realistic.
BEN
musique: Mathias Engl
ME : « La structure harmonieuse de « Ben » a été créée sous l'influence de la naissance de mon premier fils Benjamin. Il m'a fallu 20 ans pour écrire la mélodie ! Ce n'est que lorsque j'ai entendu "September 15th" de Metheny et Mays que j'ai su quoi faire.
MY LIFE AS A TANGO
musique/texte: Roger Jannotta
Did you see?
Did you hear
a big crash,
Or a big smash?
It could only be a tango!
Oh no!
Let's go
Somewhere else and drink a beer to forget!
Did you see?
Did you hear
a sweet song,
Song that's gone wrong?
It could only be my tango!
Oh no!
Let's go
Somewhere where we can forget
our troubles,
and not
where we
write our problems in a song.
It's still not too late to change!
FRIENDS
musique: Thorsten Klentze
texte: Natalie Elwood
TK : Le plus grand don de l'amitié est le privilège d'être vu par l'autre personne et le tout aussi grand privilège de mieux comprendre la nature de l'autre personne - d'avoir cru en lui et d'avoir accompagné l'ami sur un chemin, qu'il lui aurait été impossible d'y aller seul.
Over time
I have come to realize,
there’s a secret to this
life’s happiness
and that is gratitude.
So my friend,
my dear friend, I’m thanking you
for bearing with me
through the shame,
the thick and thin,
my friend I share this
with you.
SHOULD HAVE LISTENED
musique: Thorsten Klentze
TK : Ce titre ne nécessite aucune explication.
Musicalement, c'est un petit jeu entre le swing et le latin.
BLUES ON THE BENCH
musique: Roger Jannotta
texte: Wendy Marina Schneider
RJ : Le titre original de ce poème est : THE OLD MAN ON THE BENCH (LE VIEUX HOMME ET LE BANC) - Wendy Schneider a écrit : « Une femme rencontre un vieil homme coupant un arbre, et réfléchit à la mortalité.
There was a bench outside my house
On a neighbourhood knoll
It was a place where I used to go
I'd cried there before
Under a tree
One day, while sitting on the bench,
I heard a sharp and piercing screech
I turned to see an old man with his ax
Cutting down the tree
He stood, timeless, like Johnny Appleseed
or Old Man Winter
One could sense his presence in the air
As he swung his ax, his body swayed
And with a sudden burst
He fell to the ground
I leapt up onto my feet to offer a hand, but I saw he was strong,
And, in that instance, certain my timing was off,
I feigned that I had not noticed
And added a little melodrama to my movement
He got up by himself and thanked me for the thought
He said the lady across the way owned that knoll
and wanted to move the tree away
It had likely died
I sat until he cut it down
and the empty space on which the tree once sat could finally breathe
But the silence felt so sad to me
REMEMBER
musique/texte: Natalie Elwood
arr: Roger Jannotta
NE : « Remember » parle du court instant qui précède une dispute entre deux personnes qui s'aiment en fait - et de la possibilité qu'il y a d'empêcher la dispute - qu'au fond aucun d'eux ne veut avoir.
Les paroles « Do You Remember Sky » font référence à la chanson « I Remember Sky » de Stephen Sondheim.
Slowly, don’t rush, careful now.
I know I’ve got everything to lose.
Slowly, don’t rush me
further into this,
we both have ample memories of the pain.
Don’t let it come to this,
‘cause you dread it, I know you do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Slowly, don’t speak wearily,
don’t let yourself go, I mean it.
Slowly, don’t speak
full of anger,
you’ll easily get caught up in the pain.
Don’t let it come to this,
‘cause I dread it, I know I do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Don’t let it come to this,
‘cause we dread it, I know we do, remember.
ANGELO
musique/texte: Roger Jannotta
RJ : En 1954, ma famille vivait à Chicago. Mes parents avaient choisi de vivre dans un climat plus chaud et plus sec. Il y a eu ensuite un grand déménagement dans une petite voiture pleine de vêtements, d'objets personnels et d'une cage avec notre perruche - de Chicago à Albuquerque, au New Mexico.
There's never time for love,
I want to tell you
There's seldom time for life,
I need to tell you,
But it's when you're alone,
and maybe you're at home you'll see
that maybe you can find the time
to be together
to find the time
to love those who need you,
who want you
Just find the minutes to live
for those who love you
those who want you to be there.
In nineteen fifty-four,
a family in a car,
travelling West to live
a dream with all they owned
in that car some clothes
and a Budgerigar, and much love
and hope in that car,
trying to follow
a dream that would be
our wealth for a long time,
for a long time.
Why did the dream leave us so soon,
so, so soon,
so, so soon?
SUNDAY MORNING
musique: Thorsten Klentze
texte: Roger Jannotta
arr: Roger Jannotta
TK : J'ai fini d'écrire cette nouvelle pièce un dimanche matin. Trois jours plus tard, Roger et moi avons eu l'occasion de la jouer ensemble. Cela a inspiré Roger à écrire ce texte très personnel.
RJ : Le texte est dédié à mon père Angelo Jannotta, qui jouait de la contrebasse jazz. Il mourut un dimanche de 1958 après une courte jam session.
I don't know
why I'm so sad
on Sunday mornings.
Just could it be
That ev'ry Sunday morning
there are no flowers
I'm only here for the flowers.
But in the afternoon there's music,
played on a bass and a clarinet.
Where are they
now that the session's over,
all over?
There will be no Sunday music,
no Sunday flowers
not today,
not today,
not today.
ADEUS JOÃO
musique: Thorsten Klentze
TK : J'ai écrit cette mélodie pour commémorer la mort de João Gilberto. Dans les années 70, il a eu une forte influence sur moi, en consacrant ma vie au Jazz.
VINTAGE LOVE
musique: Thorsten Klentze
TK : Cette pièce est dédiée à Debra et Nosch, qui ont décidé de donner un nom commun à leur amour.
FORGET IT
musique: Thorsten Klentze
texte: Roger Jannotta
arr: Roger Jannotta
TK : Au début des années 80, je vivais avec une équipe très inspirante et amusante dans la Palestrinastraße à Munich. Un matin, j'ai joué cet étrange mélodie de blues pour Mike et je lui ai demandé un titre.
Il a juste dit : « Oubli ça !
But if I say I've got a plan to make some cash
I want you to just forget it right now
I'm a bit optimistic because I got some news today that some people
would give me some cash to write a small song -
I could not believe what I heard
it must be a mistake
but just forget it!
Some other person with some fancy music like this here,
I need a beer, forget it now
I'm a bit optimistic because I know something about how these things work
so give me some paper and I'll write a small song,
I could not believe what I heard
it must be a blues
but just forget it!
-------------------------------------------------------
Le secret du bonheur, c`est la gratitude.
Peu importe ce que la vie nous réserve.
La seule chose qui compte c'est
de rester confiant et reconnaissant.
La vie est si fragile.
Cela peut nous être enlevé si facilement.
C'est un don, une grâce.
Nous ne devrions jamais penser que nous y avons droit.
J A N N O T T A – K L E N T Z E – P R O J E C T
NATALIE ELWOOD CHANTEUR
MATHIAS ENGL TROMPETTE/FLUEGELHORN
ROGER JANNOTTA SAXOPHONE TÉNOR/FLÛTE
THORSTEN KLENTZE GUITARE
PAUL TIETZE BASSE
THOMAS ELWENSPOEK BATTERIE
Enregistré en mars 2022 au REALISTIC SOUND STUDIO à Munich, par Florian Östreicher.
Enregistrements complémentaires, découpage et montage des bandes sonores par Lori Lorenzen, studio d'enregistrement FLUXX.
Mixage et mastering par Gerold Heitbaum au GHTonstudio à Dessau.
Photos du groupe par Nicolas Röpfl
Sponsorisé par « NEUSTART KULTUR »
Produit par Roger Jannotta et Thorsten Klentze
Producteur exécutif : Harald Haerter
Grâce aux bourses NEUSTARTKULTUR de la République fédérale d'Allemagne, nous avons pu realiser cet enrigistement avec ce groupe de rêve au printemps 2022. Pour la première fois de notre carrière, nous avons pu payer les répétitions et récompenser le travail artistique de nos collègues par des salaires décents.
Un grand merci à Natalie, Mathias, Paul et Thomas pour leur précieux engagement dans ce projet.
Nous avons enregistré en mars 2022 au REALISTIC SOUND STUDIO à Munich.
Un grand merci à Florian Östreicher pour son excellent travail.
Un grand merci à Lori Lorenzen, FLUXX-Tonstudio, pour le grand soutien de cette production, incluant le montage, le découpage et le montage des bandes sonores.
La production a été mixée au GHTonstudio de Dessau par Gerold Heitbaum. Merci pour tes oreilles ouvertes et les merveilleux moments que nous avons passé ensemble à Dessau.
Un grand merci à Carsten Neder (GRAFIKSUITE) pour ce chef-d'œuvre graphique.
Un grand merci à Birgit Klentze pour les belles images de fond du magazine -
et enfin, un grand merci à Nikolaus Röpfl (Käpt'n Klus) pour les portraits des musiciens et les photos du groupe.
CORONATION BLUES
musique: Thorsten Klentze
TK : En mars 2021, la « pandémie de coronavirus » nous a frappés et le confinement nous a tous contraints à rentrer dans notre vie privée. Au-delà de toutes les peurs et des pertes que j'ai perçues dans mon environnement, l'espoir s'est réveillé en moi que je vivrais un COURONNEMENT de toute l'humanité - à travers le passage de l'inconscient au conscient.
Chacun de nous, un véritable souverain!
Un vrai souverain ne connaît aucune peur de la vie ou de la mort.
Un vrai souverain ne domine ni ne se soumet.
Un véritable souverain est au service de la vie et des hommes.
Un nouvel ordre mondial, uni dans l’amour, reste une magnifique possibilité, ouverte aux êtres souverains.
ONLY UTOPIAS ARE REALISTIC
musique/texte: Thorsten Klentze
TK : Les utopies naissent de l’indignation face à des conditions insupportables et ouvrent la perspective d’un monde meilleur, d’une communauté plus juste. Ils recèles l’espoir d’un changement.
Isn't it utopian to believe
that things can go on as before?
Clinging to old ways, is naive
when stuck in this mess more and more.
But don't let us be too fatalistic
only utopias are realistic.
BEN
musique: Mathias Engl
ME : « La structure harmonieuse de « Ben » a été créée sous l'influence de la naissance de mon premier fils Benjamin. Il m'a fallu 20 ans pour écrire la mélodie ! Ce n'est que lorsque j'ai entendu "September 15th" de Metheny et Mays que j'ai su quoi faire.
MY LIFE AS A TANGO
musique/texte: Roger Jannotta
Did you see?
Did you hear
a big crash,
Or a big smash?
It could only be a tango!
Oh no!
Let's go
Somewhere else and drink a beer to forget!
Did you see?
Did you hear
a sweet song,
Song that's gone wrong?
It could only be my tango!
Oh no!
Let's go
Somewhere where we can forget
our troubles,
and not
where we
write our problems in a song.
It's still not too late to change!
FRIENDS
musique: Thorsten Klentze
texte: Natalie Elwood
TK : Le plus grand don de l'amitié est le privilège d'être vu par l'autre personne et le tout aussi grand privilège de mieux comprendre la nature de l'autre personne - d'avoir cru en lui et d'avoir accompagné l'ami sur un chemin, qu'il lui aurait été impossible d'y aller seul.
Over time
I have come to realize,
there’s a secret to this
life’s happiness
and that is gratitude.
So my friend,
my dear friend, I’m thanking you
for bearing with me
through the shame,
the thick and thin,
my friend I share this
with you.
SHOULD HAVE LISTENED
musique: Thorsten Klentze
TK : Ce titre ne nécessite aucune explication.
Musicalement, c'est un petit jeu entre le swing et le latin.
BLUES ON THE BENCH
musique: Roger Jannotta
texte: Wendy Marina Schneider
RJ : Le titre original de ce poème est : THE OLD MAN ON THE BENCH (LE VIEUX HOMME ET LE BANC) - Wendy Schneider a écrit : « Une femme rencontre un vieil homme coupant un arbre, et réfléchit à la mortalité.
There was a bench outside my house
On a neighbourhood knoll
It was a place where I used to go
I'd cried there before
Under a tree
One day, while sitting on the bench,
I heard a sharp and piercing screech
I turned to see an old man with his ax
Cutting down the tree
He stood, timeless, like Johnny Appleseed
or Old Man Winter
One could sense his presence in the air
As he swung his ax, his body swayed
And with a sudden burst
He fell to the ground
I leapt up onto my feet to offer a hand, but I saw he was strong,
And, in that instance, certain my timing was off,
I feigned that I had not noticed
And added a little melodrama to my movement
He got up by himself and thanked me for the thought
He said the lady across the way owned that knoll
and wanted to move the tree away
It had likely died
I sat until he cut it down
and the empty space on which the tree once sat could finally breathe
But the silence felt so sad to me
REMEMBER
musique/texte: Natalie Elwood
arr: Roger Jannotta
NE : « Remember » parle du court instant qui précède une dispute entre deux personnes qui s'aiment en fait - et de la possibilité qu'il y a d'empêcher la dispute - qu'au fond aucun d'eux ne veut avoir.
Les paroles « Do You Remember Sky » font référence à la chanson « I Remember Sky » de Stephen Sondheim.
Slowly, don’t rush, careful now.
I know I’ve got everything to lose.
Slowly, don’t rush me
further into this,
we both have ample memories of the pain.
Don’t let it come to this,
‘cause you dread it, I know you do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Slowly, don’t speak wearily,
don’t let yourself go, I mean it.
Slowly, don’t speak
full of anger,
you’ll easily get caught up in the pain.
Don’t let it come to this,
‘cause I dread it, I know I do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Don’t let it come to this,
‘cause we dread it, I know we do, remember.
ANGELO
musique/texte: Roger Jannotta
RJ : En 1954, ma famille vivait à Chicago. Mes parents avaient choisi de vivre dans un climat plus chaud et plus sec. Il y a eu ensuite un grand déménagement dans une petite voiture pleine de vêtements, d'objets personnels et d'une cage avec notre perruche - de Chicago à Albuquerque, au New Mexico.
There's never time for love,
I want to tell you
There's seldom time for life,
I need to tell you,
But it's when you're alone,
and maybe you're at home you'll see
that maybe you can find the time
to be together
to find the time
to love those who need you,
who want you
Just find the minutes to live
for those who love you
those who want you to be there.
In nineteen fifty-four,
a family in a car,
travelling West to live
a dream with all they owned
in that car some clothes
and a Budgerigar, and much love
and hope in that car,
trying to follow
a dream that would be
our wealth for a long time,
for a long time.
Why did the dream leave us so soon,
so, so soon,
so, so soon?
SUNDAY MORNING
musique: Thorsten Klentze
texte: Roger Jannotta
arr: Roger Jannotta
TK : J'ai fini d'écrire cette nouvelle pièce un dimanche matin. Trois jours plus tard, Roger et moi avons eu l'occasion de la jouer ensemble. Cela a inspiré Roger à écrire ce texte très personnel.
RJ : Le texte est dédié à mon père Angelo Jannotta, qui jouait de la contrebasse jazz. Il mourut un dimanche de 1958 après une courte jam session.
I don't know
why I'm so sad
on Sunday mornings.
Just could it be
That ev'ry Sunday morning
there are no flowers
I'm only here for the flowers.
But in the afternoon there's music,
played on a bass and a clarinet.
Where are they
now that the session's over,
all over?
There will be no Sunday music,
no Sunday flowers
not today,
not today,
not today.
ADEUS JOÃO
musique: Thorsten Klentze
TK : J'ai écrit cette mélodie pour commémorer la mort de João Gilberto. Dans les années 70, il a eu une forte influence sur moi, en consacrant ma vie au Jazz.
VINTAGE LOVE
musique: Thorsten Klentze
TK : Cette pièce est dédiée à Debra et Nosch, qui ont décidé de donner un nom commun à leur amour.
FORGET IT
musique: Thorsten Klentze
texte: Roger Jannotta
arr: Roger Jannotta
TK : Au début des années 80, je vivais avec une équipe très inspirante et amusante dans la Palestrinastraße à Munich. Un matin, j'ai joué cet étrange mélodie de blues pour Mike et je lui ai demandé un titre.
Il a juste dit : « Oubli ça !
But if I say I've got a plan to make some cash
I want you to just forget it right now
I'm a bit optimistic because I got some news today that some people
would give me some cash to write a small song -
I could not believe what I heard
it must be a mistake
but just forget it!
Some other person with some fancy music like this here,
I need a beer, forget it now
I'm a bit optimistic because I know something about how these things work
so give me some paper and I'll write a small song,
I could not believe what I heard
it must be a blues
but just forget it!
-------------------------------------------------------
Le secret du bonheur, c`est la gratitude.
Peu importe ce que la vie nous réserve.
La seule chose qui compte c'est
de rester confiant et reconnaissant.
La vie est si fragile.
Cela peut nous être enlevé si facilement.
C'est un don, une grâce.
Nous ne devrions jamais penser que nous y avons droit.
G R A T I T U D E
J A N N O T T A – K L E N T Z E – P R O J E C T
NATALIE ELWOOD VOCALS
MATHIAS ENGL TRUMPET/FLUEGELHORN
ROGER JANNOTTA WOODWINDS
THORSTEN KLENTZE GUITAR
PAUL TIETZE BASS
THOMAS ELWENSPOEK DRUMS
Funded by NEUSTARTKULTUR scholarships from the Federal Republic of Germany, we were able to go into the studio with this dream band in spring 2022. For the first time in our career, we were able to pay for rehearsals and reward the artistic work of our colleagues with appropriate studio fees.
Many thanks to Natalie, Mathias, Paul and Thomas for your invaluable commitment to this project.
We recorded in March 2022 at REALISTIC SOUND STUDIO in Munich.
Many thanks to Florian Östreicher for his great work.
Many thanks to Lori Lorenzen, FLUXX recording studio, for his great support of this production, additional recordings, cutting and editing of the soundtracks.
The mix of the production was done in the GHTonstudio in Dessau by Gerold Heitbaum.
Thank you for your open ears and the nice time together in Dessau.
Many thanks to Carsten Neder (GRAFIKSUITE) for this graphical masterpiece.
Thank you to Birgit Klentze for the beautiful background pictures of the booklet -
and last but not least, many thanks to Nikolaus Röpfl (Käpt´n Klus) for the musician portraits and the band photos.
CORONATION BLUES
music: Thorsten Klentze
TK: In March 2021 the "Coronavirus Pandemic" gripped us and forced everyone into private life. Beyond all the fears and losses I witnessed around, hope was awakened in me to experience a CORONATION of all humanity -
through the transition from the unconscious to the conscious.
Each of us, as a true sovereign!
A true sovereign knows no fear of life or death.
A true sovereign neither dominates nor subdues.
A true sovereign serves life and people.
A new world order united in love, remains a grandiose possibility,
open to sovereign beings.
-------------------------------------------
ONLY UTOPIAS ARE REALISTIC
music/lyrics: Thorsten Klentze
TK: Utopias arise from outrage at unbearable conditions and open the view to a better world,
to a fairer community. They harbor hope for change.
Isn't it utopian to believe
that things can go on as before?
Clinging to old ways, is naive
when stuck in this mess more and more.
But don't let us be too fatalistic
only utopias are realistic.
----------------------------------------------------
BEN
music: Mathias Engl
ME: “The harmonic structure of "Ben" was created under the impression of the birth of my first son Benjamin. It took me 20 years for the melody! It wasn't until I heard Metheny/Mays' "September 15th" that I knew what to do.
----------------------------------------------------
MY LIFE AS A TANGO
music/lyrics: Roger Jannotta
Did you see?
Did you hear
a big crash,
Or a big smash?
It could only be a tango!
Oh no!
Let's go
Somewhere else and drink a beer to forget!
Did you see?
Did you hear
a sweet song,
Song that's gone wrong?
It could only be my tango!
Oh no!
Let's go
Somewhere where we can forget
our troubles,
and not
where we
write our problems in a song.
It's still not too late to change!
----------------------------------------------------
FRIENDS
music: Thorsten Klentze
lyrics: Natalie Elwood
TK: The greatest gift of friendship is the privilege of being seen by the other and the equally great privilege of gaining insight into the essence of the other - having believed in her or him and having accompanied the friend on a path that would have been impossible to walk alone.
Over time
I have come to realize,
there’s a secret to this
life’s happiness
and that is gratitude.
So my friend,
my dear friend, I’m thanking you
for bearing with me
through the shame,
the thick and thin,
my friend I share this
with you.
----------------------------------------------------
SHOULD HAVE LISTENED
music: Thorsten Klentze
TK: This title needs no explanation.
Musically, it's a little game between swing and latin.
----------------------------------------------------
BLUES ON THE BENCH
music: Roger Jannotta
lyrics: Wendy Marina Schneider
RJ: The original title of this poem is: THE OLD MAN AND THE BENCH - Wendy Schneider wrote: “A woman encounters an old man cutting down a tree and contemplates mortality.“
There was a bench outside my house
On a neighbourhood knoll
It was a place where I used to go
I'd cried there before
Under a tree
One day, while sitting on the bench,
I heard a sharp and piercing screech
I turned to see an old man with his ax
Cutting down the tree
He stood, timeless, like Johnny Appleseed
or Old Man Winter
One could sense his presence in the air
As he swung his ax, his body swayed
And with a sudden burst
He fell to the ground
I leapt up onto my feet to offer a hand, but I saw he was strong,
And, in that instance, certain my timing was off,
I feigned that I had not noticed
And added a little melodrama to my movement
He got up by himself and thanked me for the thought
He said the lady across the way owned that knoll
and wanted to move the tree away
It had likely died
I sat until he cut it down
and the empty space on which the tree once sat could finally breathe
But the silence felt so sad to me
----------------------------------------------------
REMEMBER
music/lyrics: Natalie Elwood
arr: Roger Jannotta
NE: “Remember” is about the brief moment before a quarrel between two people
who are actually fond of each other – and about the chance you have to prevent
the fight that, deep down, none of the two wants to have.
The lyric "do you remember sky" alludes to the song "I remember sky" by
Stephen Sondheim.
Slowly, don’t rush, careful now.
I know I’ve got everything to lose.
Slowly, don’t rush me
further into this,
we both have ample memories of the pain.
Don’t let it come to this,
‘cause you dread it, I know you do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Slowly, don’t speak wearily,
don’t let yourself go, I mean it.
Slowly, don’t speak
full of anger,
you’ll easily get caught up in the pain.
Don’t let it come to this,
‘cause I dread it, I know I do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Don’t let it come to this,
‘cause we dread it, I know we do, remember.
----------------------------------------------------
ANGELO
music/lyrics: Roger Jannotta
RJ: In 1954 my parents decided our family needed to live in a drier climate with less pollen in the air, so we moved from Chicago to Albuquerque, New Mexico in a car full of clothes and a "Budgerigar" (Parakeet).
There's never time for love,
I want to tell you
There's seldom time for life,
I need to tell you,
But it's when you're alone,
and maybe you're at home you'll see
that maybe you can find the time
to be together
to find the time
to love those who need you,
who want you
Just find the minutes to live
for those who love you
those who want you to be there.
In nineteen fifty-four,
a family in a car,
travelling West to live
a dream with all they owned
in that car some clothes
and a Budgerigar, and much love
and hope in that car,
trying to follow
a dream that would be
our wealth for a long time,
for a long time.
Why did the dream leave us so soon,
so, so soon,
so, so soon?
----------------------------------------------------
SUNDAY MORNING
music: Thorsten Klentze
lyrics: Roger Jannotta
arr: Roger Jannotta
TK: There was a new tune that I finished on a Sunday morning. Three days later Roger and I took the opportunity to try it out together. It inspired Roger to write these very personal lyrics to it.
RJ: The lyrics are dedicated to my father, Angelo Jannotta, who played jazz acoustic bass. He passed away after a short jam session one Sunday in 1958.
I don't know
why I'm so sad
on Sunday mornings.
Just could it be
That ev'ry Sunday morning
there are no flowers
I'm only here for the flowers.
But in the afternoon there's music,
played on a bass and a clarinet.
Where are they
now that the session's over,
all over?
There will be no Sunday music,
no Sunday flowers
not today,
not today,
not today.
----------------------------------------------------
ADEUS JOÃO
music: Thorsten Klentze
TK: I wrote this melody, commemorating the death of João Gilberto. He had a strong influence on me in the 70s for dedicating my life to Jazz.
----------------------------------------------------
VINTAGE LOVE
music: Thorsten Klentze
TK: This tune is dedicated to Debra and Nosch, who decided to give their love an address.
----------------------------------------------------
FORGET IT
music: Thorsten Klentze
lyrics: Roger Jannotta
arr: Roger Jannotta
TK: In the early 80s, I lived with a very inspiring and funny crew in the Palestrinastraße in Munich. One morning I introduced a weird blues melody to Mike and asked for a title.
He simply said: "Forget it!"
But if I say I've got a plan to make some cash
I want you to just forget it right now
I'm a bit optimistic because I got some news today that some people
would give me some cash to write a small song -
I could not believe what I heard
it must be a mistake
but just forget it!
Some other person with some fancy music like this here,
I need a beer, forget it now
I'm a bit optimistic because I know something about how these things work
so give me some paper and I'll write a small song,
I could not believe what I heard
it must be a blues
but just forget it!
--------------------------------------------------
The secret of happiness is gratitude.
It doesn't matter what life has in store for us.
The only thing that matters
Is to stay confident and grateful.
Being is so fragile.
It can be taken away from us so easily.
Life is a gift, a grace.
We should never think we have a right to it.
J A N N O T T A – K L E N T Z E – P R O J E C T
NATALIE ELWOOD VOCALS
MATHIAS ENGL TRUMPET/FLUEGELHORN
ROGER JANNOTTA WOODWINDS
THORSTEN KLENTZE GUITAR
PAUL TIETZE BASS
THOMAS ELWENSPOEK DRUMS
Funded by NEUSTARTKULTUR scholarships from the Federal Republic of Germany, we were able to go into the studio with this dream band in spring 2022. For the first time in our career, we were able to pay for rehearsals and reward the artistic work of our colleagues with appropriate studio fees.
Many thanks to Natalie, Mathias, Paul and Thomas for your invaluable commitment to this project.
We recorded in March 2022 at REALISTIC SOUND STUDIO in Munich.
Many thanks to Florian Östreicher for his great work.
Many thanks to Lori Lorenzen, FLUXX recording studio, for his great support of this production, additional recordings, cutting and editing of the soundtracks.
The mix of the production was done in the GHTonstudio in Dessau by Gerold Heitbaum.
Thank you for your open ears and the nice time together in Dessau.
Many thanks to Carsten Neder (GRAFIKSUITE) for this graphical masterpiece.
Thank you to Birgit Klentze for the beautiful background pictures of the booklet -
and last but not least, many thanks to Nikolaus Röpfl (Käpt´n Klus) for the musician portraits and the band photos.
CORONATION BLUES
music: Thorsten Klentze
TK: In March 2021 the "Coronavirus Pandemic" gripped us and forced everyone into private life. Beyond all the fears and losses I witnessed around, hope was awakened in me to experience a CORONATION of all humanity -
through the transition from the unconscious to the conscious.
Each of us, as a true sovereign!
A true sovereign knows no fear of life or death.
A true sovereign neither dominates nor subdues.
A true sovereign serves life and people.
A new world order united in love, remains a grandiose possibility,
open to sovereign beings.
-------------------------------------------
ONLY UTOPIAS ARE REALISTIC
music/lyrics: Thorsten Klentze
TK: Utopias arise from outrage at unbearable conditions and open the view to a better world,
to a fairer community. They harbor hope for change.
Isn't it utopian to believe
that things can go on as before?
Clinging to old ways, is naive
when stuck in this mess more and more.
But don't let us be too fatalistic
only utopias are realistic.
----------------------------------------------------
BEN
music: Mathias Engl
ME: “The harmonic structure of "Ben" was created under the impression of the birth of my first son Benjamin. It took me 20 years for the melody! It wasn't until I heard Metheny/Mays' "September 15th" that I knew what to do.
----------------------------------------------------
MY LIFE AS A TANGO
music/lyrics: Roger Jannotta
Did you see?
Did you hear
a big crash,
Or a big smash?
It could only be a tango!
Oh no!
Let's go
Somewhere else and drink a beer to forget!
Did you see?
Did you hear
a sweet song,
Song that's gone wrong?
It could only be my tango!
Oh no!
Let's go
Somewhere where we can forget
our troubles,
and not
where we
write our problems in a song.
It's still not too late to change!
----------------------------------------------------
FRIENDS
music: Thorsten Klentze
lyrics: Natalie Elwood
TK: The greatest gift of friendship is the privilege of being seen by the other and the equally great privilege of gaining insight into the essence of the other - having believed in her or him and having accompanied the friend on a path that would have been impossible to walk alone.
Over time
I have come to realize,
there’s a secret to this
life’s happiness
and that is gratitude.
So my friend,
my dear friend, I’m thanking you
for bearing with me
through the shame,
the thick and thin,
my friend I share this
with you.
----------------------------------------------------
SHOULD HAVE LISTENED
music: Thorsten Klentze
TK: This title needs no explanation.
Musically, it's a little game between swing and latin.
----------------------------------------------------
BLUES ON THE BENCH
music: Roger Jannotta
lyrics: Wendy Marina Schneider
RJ: The original title of this poem is: THE OLD MAN AND THE BENCH - Wendy Schneider wrote: “A woman encounters an old man cutting down a tree and contemplates mortality.“
There was a bench outside my house
On a neighbourhood knoll
It was a place where I used to go
I'd cried there before
Under a tree
One day, while sitting on the bench,
I heard a sharp and piercing screech
I turned to see an old man with his ax
Cutting down the tree
He stood, timeless, like Johnny Appleseed
or Old Man Winter
One could sense his presence in the air
As he swung his ax, his body swayed
And with a sudden burst
He fell to the ground
I leapt up onto my feet to offer a hand, but I saw he was strong,
And, in that instance, certain my timing was off,
I feigned that I had not noticed
And added a little melodrama to my movement
He got up by himself and thanked me for the thought
He said the lady across the way owned that knoll
and wanted to move the tree away
It had likely died
I sat until he cut it down
and the empty space on which the tree once sat could finally breathe
But the silence felt so sad to me
----------------------------------------------------
REMEMBER
music/lyrics: Natalie Elwood
arr: Roger Jannotta
NE: “Remember” is about the brief moment before a quarrel between two people
who are actually fond of each other – and about the chance you have to prevent
the fight that, deep down, none of the two wants to have.
The lyric "do you remember sky" alludes to the song "I remember sky" by
Stephen Sondheim.
Slowly, don’t rush, careful now.
I know I’ve got everything to lose.
Slowly, don’t rush me
further into this,
we both have ample memories of the pain.
Don’t let it come to this,
‘cause you dread it, I know you do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Slowly, don’t speak wearily,
don’t let yourself go, I mean it.
Slowly, don’t speak
full of anger,
you’ll easily get caught up in the pain.
Don’t let it come to this,
‘cause I dread it, I know I do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Don’t let it come to this,
‘cause we dread it, I know we do, remember.
----------------------------------------------------
ANGELO
music/lyrics: Roger Jannotta
RJ: In 1954 my parents decided our family needed to live in a drier climate with less pollen in the air, so we moved from Chicago to Albuquerque, New Mexico in a car full of clothes and a "Budgerigar" (Parakeet).
There's never time for love,
I want to tell you
There's seldom time for life,
I need to tell you,
But it's when you're alone,
and maybe you're at home you'll see
that maybe you can find the time
to be together
to find the time
to love those who need you,
who want you
Just find the minutes to live
for those who love you
those who want you to be there.
In nineteen fifty-four,
a family in a car,
travelling West to live
a dream with all they owned
in that car some clothes
and a Budgerigar, and much love
and hope in that car,
trying to follow
a dream that would be
our wealth for a long time,
for a long time.
Why did the dream leave us so soon,
so, so soon,
so, so soon?
----------------------------------------------------
SUNDAY MORNING
music: Thorsten Klentze
lyrics: Roger Jannotta
arr: Roger Jannotta
TK: There was a new tune that I finished on a Sunday morning. Three days later Roger and I took the opportunity to try it out together. It inspired Roger to write these very personal lyrics to it.
RJ: The lyrics are dedicated to my father, Angelo Jannotta, who played jazz acoustic bass. He passed away after a short jam session one Sunday in 1958.
I don't know
why I'm so sad
on Sunday mornings.
Just could it be
That ev'ry Sunday morning
there are no flowers
I'm only here for the flowers.
But in the afternoon there's music,
played on a bass and a clarinet.
Where are they
now that the session's over,
all over?
There will be no Sunday music,
no Sunday flowers
not today,
not today,
not today.
----------------------------------------------------
ADEUS JOÃO
music: Thorsten Klentze
TK: I wrote this melody, commemorating the death of João Gilberto. He had a strong influence on me in the 70s for dedicating my life to Jazz.
----------------------------------------------------
VINTAGE LOVE
music: Thorsten Klentze
TK: This tune is dedicated to Debra and Nosch, who decided to give their love an address.
----------------------------------------------------
FORGET IT
music: Thorsten Klentze
lyrics: Roger Jannotta
arr: Roger Jannotta
TK: In the early 80s, I lived with a very inspiring and funny crew in the Palestrinastraße in Munich. One morning I introduced a weird blues melody to Mike and asked for a title.
He simply said: "Forget it!"
But if I say I've got a plan to make some cash
I want you to just forget it right now
I'm a bit optimistic because I got some news today that some people
would give me some cash to write a small song -
I could not believe what I heard
it must be a mistake
but just forget it!
Some other person with some fancy music like this here,
I need a beer, forget it now
I'm a bit optimistic because I know something about how these things work
so give me some paper and I'll write a small song,
I could not believe what I heard
it must be a blues
but just forget it!
--------------------------------------------------
The secret of happiness is gratitude.
It doesn't matter what life has in store for us.
The only thing that matters
Is to stay confident and grateful.
Being is so fragile.
It can be taken away from us so easily.
Life is a gift, a grace.
We should never think we have a right to it.
Le Jannotta Klentze Project est un sextuor qui puise de nouvelles étincelles dans la tradition du jazz.
Ce groupe aime les compositions originales, harmonieusement denses, multicolores et polyphoniques. et combine cela avec du swing moderne et des rythmes latins.
Deux cuivres puissants, une voix féminine polyvalente, une guitare distinctive et groove
Équipe basse et batterie – nous entendons un line-up inhabituel dans un son en direct tout à fait authentique.
L'ensemble initié par Roger Jannotta et Thorsten Klentze ne suit pas les clichés habituels : « Le groupe accompagne le chanteur ». - Il y a plutôt ici 6 partenaires égaux qui savent enchanter avec des mélodies entraînantes, mais aiment aussi tenter des choses folles en tant que solistes. Cela crée des images sonores complexes sur les compositions des deux « leaders » du groupe.
Ce groupe aime les compositions originales, harmonieusement denses, multicolores et polyphoniques. et combine cela avec du swing moderne et des rythmes latins.
Deux cuivres puissants, une voix féminine polyvalente, une guitare distinctive et groove
Équipe basse et batterie – nous entendons un line-up inhabituel dans un son en direct tout à fait authentique.
L'ensemble initié par Roger Jannotta et Thorsten Klentze ne suit pas les clichés habituels : « Le groupe accompagne le chanteur ». - Il y a plutôt ici 6 partenaires égaux qui savent enchanter avec des mélodies entraînantes, mais aiment aussi tenter des choses folles en tant que solistes. Cela crée des images sonores complexes sur les compositions des deux « leaders » du groupe.
G R A T I T U D E
J A N N O T T A – K L E N T Z E – P R O J E C T
NATALIE ELWOOD GESANG
MATHIAS ENGL TRUMPETE/FLUEGELHORN
ROGER JANNOTTA TENORSAXOPHON/FLÖTE
THORSTEN KLENTZE GITARRE
PAUL TIETZE BASS
THOMAS ELWENSPOEK SCHLAGZEUG
Gefördert durch NEUSTARTKULTUR-Stipendien der Bundesrepublik Deutschland konnten wir im Frühjahr 2022 mit dieser Traumband ins Studio gehen. Zum ersten Mal in unserer Karriere konnten wir Proben bezahlen und die künstlerische Arbeit unserer Kollegen mit anständigen Gagen honorieren.
Vielen Dank an Natalie, Mathias, Paul und Thomas für Ihren unschätzbaren Einsatz für dieses Projekt.
Wir haben im März 2022 im REALISTIC SOUND STUDIO in München aufgenommen.
Vielen Dank an Florian Östreicher für seine tolle Arbeit.
Vielen Dank an Lori Lorenzen, FLUXX-Tonstudio, für die großartige Unterstützung dieser Produktion, inklusive Editierung, Schnitt und Bearbeitung der Soundtracks.
Der Mix der Produktion erfolgte im GHTonstudio in Dessau durch Gerold Heitbaum. Vielen Dank für Deine offenen Ohren und die schöne gemeinsame Zeit in Dessau.
Vielen Dank an Carsten Neder (GRAFIKSUITE) für dieses grafische Meisterwerk.
Vielen Dank an Birgit Klentze für die wunderschönen Hintergrundbilder des Heftes -
und zu guter Letzt vielen Dank an Nikolaus Röpfl (Käpt´n Klus) für die Musikerporträts und die Bandfotos.
CORONATION BLUES
music: Thorsten Klentze
TK: Im März 2021 hat uns die „Coronavirus-Pandemie“ erfasst und der Lockdown zwang uns alle ins Privatleben. Jenseits all der Ängste und Verluste, die ich in meinem Umfeld wahrnahm, wurde in mir die Hoffnung geweckt, eine KRÖNUNG der gesamten Menschheit zu erleben – durch den Übergang vom Unbewussten zum Bewussten.
Jeder von uns, als ein wahrer Souverän:
Ein wahrer Souverän kennt keine Angst vor Leben oder Tod.
Ein wahrer Souverän dominiert weder, noch unterwirft er sich.
Ein wahrer Souverän dient dem Leben und den Menschen.
Eine neue Weltordnung, vereint in Liebe, bleibt eine grandiose Möglichkeit, offen für souveräne Wesen.
ONLY UTOPIAS ARE REALISTIC
music/lyrics: Thorsten Klentze
TK: Utopien entstehen aus der Empörung über unerträgliche Zustände und eröffnen den Blick auf eine bessere Welt, auf eine gerechtere Gemeinschaft. Sie birgt die Hoffnung auf Veränderung.
Isn't it utopian to believe
that things can go on as before?
Clinging to old ways, is naive
when stuck in this mess more and more.
But don't let us be too fatalistic
only utopias are realistic.
BEN
music: Mathias Engl
ME: „Die harmonische Struktur von „Ben“ entstand unter dem Eindruck der Geburt meines ersten Sohnes Benjamin. Für die Melodie habe ich 20 Jahre gebraucht! Erst als ich „September 15th“ von Metheny und Mays hörte, wusste ich, was zu tun ist.
MY LIFE AS A TANGO
music/lyrics: Roger Jannotta
Did you see?
Did you hear
a big crash,
Or a big smash?
It could only be a tango!
Oh no!
Let's go
Somewhere else and drink a beer to forget!
Did you see?
Did you hear
a sweet song,
Song that's gone wrong?
It could only be my tango!
Oh no!
Let's go
Somewhere where we can forget
our troubles,
and not
where we
write our problems in a song.
It's still not too late to change!
FRIENDS
music: Thorsten Klentze
lyrics: Natalie Elwood
TK: Das größte Geschenk einer Freundschaft ist das Privileg, vom Anderen gesehen zu werden und das ebenso große Privileg, Einblick in das Wesen des Anderen zu gewinnen – an ihn oder sie geglaubt zu haben und den Freund auf einem Weg begleitet zu haben, der für ihn unmöglich gewesen wäre, alleine zu gehen.
Over time
I have come to realize,
there’s a secret to this
life’s happiness
and that is gratitude.
So my friend,
my dear friend, I’m thanking you
for bearing with me
through the shame,
the thick and thin,
my friend I share this
with you.
SHOULD HAVE LISTENED
music: Thorsten Klentze
TK: Dieser Titel bedarf keiner Erklärung.
Musikalisch ist es ein kleines Spiel zwischen Swing und Latin.
BLUES ON THE BENCH
music: Roger Jannotta
lyrics: Wendy Marina Schneider
RJ: Der Originaltitel dieses Gedichts lautet: THE OLD MAN AND THE BENCH – Wendy Schneider schrieb: „Eine Frau trifft auf einen alten Mann, der einen Baum fällt und denkt über Sterblichkeit nach.“
There was a bench outside my house
On a neighbourhood knoll
It was a place where I used to go
I'd cried there before
Under a tree
One day, while sitting on the bench,
I heard a sharp and piercing screech
I turned to see an old man with his ax
Cutting down the tree
He stood, timeless, like Johnny Appleseed
or Old Man Winter
One could sense his presence in the air
As he swung his ax, his body swayed
And with a sudden burst
He fell to the ground
I leapt up onto my feet to offer a hand, but I saw he was strong,
And, in that instance, certain my timing was off,
I feigned that I had not noticed
And added a little melodrama to my movement
He got up by himself and thanked me for the thought
He said the lady across the way owned that knoll
and wanted to move the tree away
It had likely died
I sat until he cut it down
and the empty space on which the tree once sat could finally breathe
But the silence felt so sad to me
REMEMBER
music/lyrics: Natalie Elwood
arr: Roger Jannotta
NE: „Remember“ handelt von dem kurzen Moment vor einem Streit zwischen zwei Menschen, die sich eigentlich mögen – und über die Chance die es gibt, den Streit, - den tief im Inneren keiner der beiden haben will, zu verhindern.
Der Text „Do You Remember Sky“ spielt auf das Lied „I Remember Sky“ von Stephen Sondheim an.
Slowly, don’t rush, careful now.
I know I’ve got everything to lose.
Slowly, don’t rush me
further into this,
we both have ample memories of the pain.
Don’t let it come to this,
‘cause you dread it, I know you do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Slowly, don’t speak wearily,
don’t let yourself go, I mean it.
Slowly, don’t speak
full of anger,
you’ll easily get caught up in the pain.
Don’t let it come to this,
‘cause I dread it, I know I do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Don’t let it come to this,
‘cause we dread it, I know we do, remember.
ANGELO
music/lyrics: Roger Jannotta
RJ: 1954 lebte meine Familie in Chicago. Meine Eltern hatten sich entschieden, in einem wärmeren und trockeneren Klima zu leben. Daraufhin gab es einen großen Umzug in einem kleinen Auto voller Kleidung, persönlicher Dinge und einem Käfig mit unserem Wellensittich, - von Chicago nach Albuquerque in New Mexico.
There's never time for love,
I want to tell you
There's seldom time for life,
I need to tell you,
But it's when you're alone,
and maybe you're at home you'll see
that maybe you can find the time
to be together
to find the time
to love those who need you,
who want you
Just find the minutes to live
for those who love you
those who want you to be there.
In nineteen fifty-four,
a family in a car,
travelling West to live
a dream with all they owned
in that car some clothes
and a Budgerigar, and much love
and hope in that car,
trying to follow
a dream that would be
our wealth for a long time,
for a long time.
Why did the dream leave us so soon,
so, so soon,
so, so soon?
SUNDAY MORNING
music: Thorsten Klentze
lyrics: Roger Jannotta
arr: Roger Jannotta
TK: An einem Sonntagmorgen hab ich diese neue Melodie fertiggeschrieben. Drei Tage später hatten Roger und ich die Gelegenheit sie gemeinsam zu spielen. Das inspirierte Roger dazu, diesen - sehr persönlichen Text, dazu zu schreiben.
RJ: Der Text ist meinem Vater Angelo Jannotta gewidmet, der Jazz-Kontrabass spielte. Er starb an einem Sonntag im Jahr 1958 nach einer kurzen Jam-Session.
I don't know
why I'm so sad
on Sunday mornings.
Just could it be
That ev'ry Sunday morning
there are no flowers
I'm only here for the flowers.
But in the afternoon there's music,
played on a bass and a clarinet.
Where are they
now that the session's over,
all over?
There will be no Sunday music,
no Sunday flowers
not today,
not today,
not today.
ADEUS JOÃO
music: Thorsten Klentze
TK: Ich habe diese Melodie im Gedenken an den Tod von João Gilberto geschrieben.
Seine Musik hatte in den 70er Jahren einen starken Einfluss, mein Leben dem Jazz zu widmen.
VINTAGE LOVE
music: Thorsten Klentze
TK: Dieses Lied ist Debra und Nosch gewidmet, die sich entschieden haben, ihrer Liebe einen gemeinsamen Namen zu geben.
FORGET IT
music: Thorsten Klentze
lyrics: Roger Jannotta
arr: Roger Jannotta
TK: Anfang der 80er lebte ich mit einer sehr inspirierenden und lustigen Crew in der Palestrinastraße in München. Eines Morgens spielte ich Mike diese seltsame Bluesmelodie vor und fragte ihn nach einem Titel.
Er sagte nur: „Vergiss es!“
But if I say I've got a plan to make some cash
I want you to just forget it right now
I'm a bit optimistic because I got some news today that some people
would give me some cash to write a small song -
I could not believe what I heard
it must be a mistake
but just forget it!
Some other person with some fancy music like this here,
I need a beer, forget it now
I'm a bit optimistic because I know something about how these things work
so give me some paper and I'll write a small song,
I could not believe what I heard
it must be a blues
but just forget it!
--------------------------------------------------
Das Geheimnis des Glücks ist Dankbarkeit.
Es spielt keine Rolle, was das Leben für uns bereithält.
Das Einzige was zählt ist,
zuversichtlich und dankbar zu bleiben.
Das Leben ist so zerbrechlich.
Es kann uns so leicht genommen werden.
Es ist ein Geschenk, eine Gnade.
Wir sollten niemals glauben, wir hätten ein Recht darauf.
J A N N O T T A – K L E N T Z E – P R O J E C T
NATALIE ELWOOD GESANG
MATHIAS ENGL TRUMPETE/FLUEGELHORN
ROGER JANNOTTA TENORSAXOPHON/FLÖTE
THORSTEN KLENTZE GITARRE
PAUL TIETZE BASS
THOMAS ELWENSPOEK SCHLAGZEUG
Gefördert durch NEUSTARTKULTUR-Stipendien der Bundesrepublik Deutschland konnten wir im Frühjahr 2022 mit dieser Traumband ins Studio gehen. Zum ersten Mal in unserer Karriere konnten wir Proben bezahlen und die künstlerische Arbeit unserer Kollegen mit anständigen Gagen honorieren.
Vielen Dank an Natalie, Mathias, Paul und Thomas für Ihren unschätzbaren Einsatz für dieses Projekt.
Wir haben im März 2022 im REALISTIC SOUND STUDIO in München aufgenommen.
Vielen Dank an Florian Östreicher für seine tolle Arbeit.
Vielen Dank an Lori Lorenzen, FLUXX-Tonstudio, für die großartige Unterstützung dieser Produktion, inklusive Editierung, Schnitt und Bearbeitung der Soundtracks.
Der Mix der Produktion erfolgte im GHTonstudio in Dessau durch Gerold Heitbaum. Vielen Dank für Deine offenen Ohren und die schöne gemeinsame Zeit in Dessau.
Vielen Dank an Carsten Neder (GRAFIKSUITE) für dieses grafische Meisterwerk.
Vielen Dank an Birgit Klentze für die wunderschönen Hintergrundbilder des Heftes -
und zu guter Letzt vielen Dank an Nikolaus Röpfl (Käpt´n Klus) für die Musikerporträts und die Bandfotos.
CORONATION BLUES
music: Thorsten Klentze
TK: Im März 2021 hat uns die „Coronavirus-Pandemie“ erfasst und der Lockdown zwang uns alle ins Privatleben. Jenseits all der Ängste und Verluste, die ich in meinem Umfeld wahrnahm, wurde in mir die Hoffnung geweckt, eine KRÖNUNG der gesamten Menschheit zu erleben – durch den Übergang vom Unbewussten zum Bewussten.
Jeder von uns, als ein wahrer Souverän:
Ein wahrer Souverän kennt keine Angst vor Leben oder Tod.
Ein wahrer Souverän dominiert weder, noch unterwirft er sich.
Ein wahrer Souverän dient dem Leben und den Menschen.
Eine neue Weltordnung, vereint in Liebe, bleibt eine grandiose Möglichkeit, offen für souveräne Wesen.
ONLY UTOPIAS ARE REALISTIC
music/lyrics: Thorsten Klentze
TK: Utopien entstehen aus der Empörung über unerträgliche Zustände und eröffnen den Blick auf eine bessere Welt, auf eine gerechtere Gemeinschaft. Sie birgt die Hoffnung auf Veränderung.
Isn't it utopian to believe
that things can go on as before?
Clinging to old ways, is naive
when stuck in this mess more and more.
But don't let us be too fatalistic
only utopias are realistic.
BEN
music: Mathias Engl
ME: „Die harmonische Struktur von „Ben“ entstand unter dem Eindruck der Geburt meines ersten Sohnes Benjamin. Für die Melodie habe ich 20 Jahre gebraucht! Erst als ich „September 15th“ von Metheny und Mays hörte, wusste ich, was zu tun ist.
MY LIFE AS A TANGO
music/lyrics: Roger Jannotta
Did you see?
Did you hear
a big crash,
Or a big smash?
It could only be a tango!
Oh no!
Let's go
Somewhere else and drink a beer to forget!
Did you see?
Did you hear
a sweet song,
Song that's gone wrong?
It could only be my tango!
Oh no!
Let's go
Somewhere where we can forget
our troubles,
and not
where we
write our problems in a song.
It's still not too late to change!
FRIENDS
music: Thorsten Klentze
lyrics: Natalie Elwood
TK: Das größte Geschenk einer Freundschaft ist das Privileg, vom Anderen gesehen zu werden und das ebenso große Privileg, Einblick in das Wesen des Anderen zu gewinnen – an ihn oder sie geglaubt zu haben und den Freund auf einem Weg begleitet zu haben, der für ihn unmöglich gewesen wäre, alleine zu gehen.
Over time
I have come to realize,
there’s a secret to this
life’s happiness
and that is gratitude.
So my friend,
my dear friend, I’m thanking you
for bearing with me
through the shame,
the thick and thin,
my friend I share this
with you.
SHOULD HAVE LISTENED
music: Thorsten Klentze
TK: Dieser Titel bedarf keiner Erklärung.
Musikalisch ist es ein kleines Spiel zwischen Swing und Latin.
BLUES ON THE BENCH
music: Roger Jannotta
lyrics: Wendy Marina Schneider
RJ: Der Originaltitel dieses Gedichts lautet: THE OLD MAN AND THE BENCH – Wendy Schneider schrieb: „Eine Frau trifft auf einen alten Mann, der einen Baum fällt und denkt über Sterblichkeit nach.“
There was a bench outside my house
On a neighbourhood knoll
It was a place where I used to go
I'd cried there before
Under a tree
One day, while sitting on the bench,
I heard a sharp and piercing screech
I turned to see an old man with his ax
Cutting down the tree
He stood, timeless, like Johnny Appleseed
or Old Man Winter
One could sense his presence in the air
As he swung his ax, his body swayed
And with a sudden burst
He fell to the ground
I leapt up onto my feet to offer a hand, but I saw he was strong,
And, in that instance, certain my timing was off,
I feigned that I had not noticed
And added a little melodrama to my movement
He got up by himself and thanked me for the thought
He said the lady across the way owned that knoll
and wanted to move the tree away
It had likely died
I sat until he cut it down
and the empty space on which the tree once sat could finally breathe
But the silence felt so sad to me
REMEMBER
music/lyrics: Natalie Elwood
arr: Roger Jannotta
NE: „Remember“ handelt von dem kurzen Moment vor einem Streit zwischen zwei Menschen, die sich eigentlich mögen – und über die Chance die es gibt, den Streit, - den tief im Inneren keiner der beiden haben will, zu verhindern.
Der Text „Do You Remember Sky“ spielt auf das Lied „I Remember Sky“ von Stephen Sondheim an.
Slowly, don’t rush, careful now.
I know I’ve got everything to lose.
Slowly, don’t rush me
further into this,
we both have ample memories of the pain.
Don’t let it come to this,
‘cause you dread it, I know you do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Slowly, don’t speak wearily,
don’t let yourself go, I mean it.
Slowly, don’t speak
full of anger,
you’ll easily get caught up in the pain.
Don’t let it come to this,
‘cause I dread it, I know I do.
Remember where you’d rather be,
close to me,
close to you.
Say, do you remember sky,
please say you do.
Can we just start over again.
Don’t let it come to this,
‘cause we dread it, I know we do, remember.
ANGELO
music/lyrics: Roger Jannotta
RJ: 1954 lebte meine Familie in Chicago. Meine Eltern hatten sich entschieden, in einem wärmeren und trockeneren Klima zu leben. Daraufhin gab es einen großen Umzug in einem kleinen Auto voller Kleidung, persönlicher Dinge und einem Käfig mit unserem Wellensittich, - von Chicago nach Albuquerque in New Mexico.
There's never time for love,
I want to tell you
There's seldom time for life,
I need to tell you,
But it's when you're alone,
and maybe you're at home you'll see
that maybe you can find the time
to be together
to find the time
to love those who need you,
who want you
Just find the minutes to live
for those who love you
those who want you to be there.
In nineteen fifty-four,
a family in a car,
travelling West to live
a dream with all they owned
in that car some clothes
and a Budgerigar, and much love
and hope in that car,
trying to follow
a dream that would be
our wealth for a long time,
for a long time.
Why did the dream leave us so soon,
so, so soon,
so, so soon?
SUNDAY MORNING
music: Thorsten Klentze
lyrics: Roger Jannotta
arr: Roger Jannotta
TK: An einem Sonntagmorgen hab ich diese neue Melodie fertiggeschrieben. Drei Tage später hatten Roger und ich die Gelegenheit sie gemeinsam zu spielen. Das inspirierte Roger dazu, diesen - sehr persönlichen Text, dazu zu schreiben.
RJ: Der Text ist meinem Vater Angelo Jannotta gewidmet, der Jazz-Kontrabass spielte. Er starb an einem Sonntag im Jahr 1958 nach einer kurzen Jam-Session.
I don't know
why I'm so sad
on Sunday mornings.
Just could it be
That ev'ry Sunday morning
there are no flowers
I'm only here for the flowers.
But in the afternoon there's music,
played on a bass and a clarinet.
Where are they
now that the session's over,
all over?
There will be no Sunday music,
no Sunday flowers
not today,
not today,
not today.
ADEUS JOÃO
music: Thorsten Klentze
TK: Ich habe diese Melodie im Gedenken an den Tod von João Gilberto geschrieben.
Seine Musik hatte in den 70er Jahren einen starken Einfluss, mein Leben dem Jazz zu widmen.
VINTAGE LOVE
music: Thorsten Klentze
TK: Dieses Lied ist Debra und Nosch gewidmet, die sich entschieden haben, ihrer Liebe einen gemeinsamen Namen zu geben.
FORGET IT
music: Thorsten Klentze
lyrics: Roger Jannotta
arr: Roger Jannotta
TK: Anfang der 80er lebte ich mit einer sehr inspirierenden und lustigen Crew in der Palestrinastraße in München. Eines Morgens spielte ich Mike diese seltsame Bluesmelodie vor und fragte ihn nach einem Titel.
Er sagte nur: „Vergiss es!“
But if I say I've got a plan to make some cash
I want you to just forget it right now
I'm a bit optimistic because I got some news today that some people
would give me some cash to write a small song -
I could not believe what I heard
it must be a mistake
but just forget it!
Some other person with some fancy music like this here,
I need a beer, forget it now
I'm a bit optimistic because I know something about how these things work
so give me some paper and I'll write a small song,
I could not believe what I heard
it must be a blues
but just forget it!
--------------------------------------------------
Das Geheimnis des Glücks ist Dankbarkeit.
Es spielt keine Rolle, was das Leben für uns bereithält.
Das Einzige was zählt ist,
zuversichtlich und dankbar zu bleiben.
Das Leben ist so zerbrechlich.
Es kann uns so leicht genommen werden.
Es ist ein Geschenk, eine Gnade.
Wir sollten niemals glauben, wir hätten ein Recht darauf.