Judy Niemack - voc
Jim Black -dr.
Marc Muellbauer - b.
Tino Derado -p.
“Mingus Monk and Miles” features four dynamic, improvising musicians celebrating three of their favorite jazz composers. From Charles Mingus’ “Goodbye Porkpie Hat” to Monk’s “Round Midnight”, from Mile’s funky “Tutu” to “Four”, they’re going to cut loose with some exciting, interactive Jazz! Judy Niemack chose these players because they listen and respond with love for the music and respect for each other, with the deep knowledge and creativity necessary to set the music free...”she sings with the voice of an angel, whether scatting Basie or swinging Miles...” Downbeat
"Vocalist Judy Niemack never veers from her path as she leads you through an ethereal labyrinth, exploring dark harmonies, classically-tinged jazz melodies and shifting rhythms...Her dynamically delivered three -octave vocals soar above superb accompaniment...""Vocalist Judy Niemack never veers from her path as she leads you through an ethereal labyrinth, exploring dark harmonies, classically-tinged jazz melodies and shifting rhythms...Her dynamically delivered three-octave vocals soar above superb accompaniment... "
-- Nancy Ann Lee, Jazz Times
-Jim Black is at the forefront of a new generation of musicians bringing jazz into the 21st century. In addition to being one of the most influential drummers of our time, he is also the leader of one of the world's most forward-thinking bands, AlasNoAxis, featuring his longtime collaborators Chris Speed, Hilmar Jensson and Skúli Sverrisson. Based on the foundation of his virtuosic but highly personal approach to jazz drumming, Black's aesthetic has expanded to include Balkan rhythms, rock songcraft and laptop soundscapes. Though he is revered worldwide for his limitless technique and futuristic concepts, what many listeners treasure in most Jim Black's work is the relentless feeling of joy and invention he brings to his performances. Jim Black's smiling, kinetic, unpredictable presence has enthralled and inspired audiences worldwide for over twenty-five years.
Since the mid-90's, Black has played a major role in the incorporation of new sounds and techniques into the jazz/creative music context. As a member of the collective group Pachora (with Speed, Sverrisson, and guitarist Brad Shepik) Black was one of the leaders in the study and adaptation of Balkan music into jazz-based music. His advanced techniques abstracted the odd time signatures of the Balkans into a new polyrhythmic language equally informed by modern jazz, drum&bass and the dumbeks of the Balkans. Black has also been an innovator in the use of electronics in improvisation, bridging the gap between electro-acoustic improv and more jazz-based traditions. Today, Black's performances are just as likely to feature his laptop-based electronic textures as his drumming.
Born in 1967, Jim Black grew up in Seattle alongside future colleagues Chris Speed, Andrew D'Angelo and Cuong Vu. After cementing their personal and artistic relationships in Seattle's various youth jazz ensembles, in 1985 they moved to Boston, where Black entered the Berklee School of Music. In Boston, Black, Speed and D'Angelo formed Human Feel with guitarist Kurt Rosenwinkel, which rapidly attracted the attention of the jazz cognoscenti in Boston, New York and beyond.
By 1991, Black and the other members of Human Feel had moved to New York City, where they electrified the Downtown music scene then centered around the Knitting Factory and rapidly became among the city's busiest sidemen. Black's early years in New York saw him take featured roles in some of the most critically acclaimed bands of the time, like Tim Berne's Bloodcount, Ellery Eskelin's trio, and Dave Douglas's Tiny Bell Trio. Thus began fifteen years of near-constant touring and recording, with the above bands as well as artists like Uri Caine, Dave Liebman, Nels Cline, Steve Coleman, Tomasz Stanko, and Laurie Anderson. .
A graduate (BFA) of Berklee College of Music (Boston) and the New School (New York) Tino Derado , who studied on a Eubie Blake Scholarship, was introduced to classical piano at age six and and crossed over to Jazz in his early teens. In reflection of his mixed cultural heritage (Croatian/ German), he soon developed a dynamic interest in ethnic and world music.
In his course of his brief but remarkable career, Tino performed with Gary Burton, Peter Erskine, Randy Brecker, Bill Evans, Paul Winter, Dave Liebman, Jimmy Cliff, Frank Gambale, Tom Rainey, Avishy Cohen, Craig Handy, Billy Drewes, Matthew Garrison, Rebekka Bakken, Nils Langren, Papo Vasquez, Orlando Marin y su orchestra, Andy Gonzales as well as Bob Moses, to name but a few, served as musical director for Gloria Gaynor, was finalist at the Fish Middleton Jazz Scholarship Competition, and toured extensively with various bands in Europe, South America, Russia and the Middle East. Mr Derado has lived the last 12 years in New York and has now moved back to Berlin/Germany. He is currently signed by Sunnysiderecords, released 6 CD’s under his name, is frequently working with the NDR Bigband and teaching at the JIB University (Berlin). 2014 he got appointed to be Professor at the Musikhochschule für Musik, Theater und Medien in Hannover.
I was born in London, England in 1968, but moved to Germany with my family when I was 3 years old. Initially coming to music as a fan of hard rock, I started out as a self-taught electric bass player after the shock of hearing Jaco Pastorius on the Weather Report album "Night Passage". Not knowing what I had got myself into, I bought a bass, learned 3 chords and formed a band. At age 17, I picked up the double bass because I believed then (wrongly!), that in order to learn to read music fluently, I had to study classical music.
This mistake changed my direction in life for the next few years. My first experience playing in an orchestra involved Shostakovich's 9th symphony. I had been playing the bass for 1 1/2 years and was simultaneously in awe of the music and painfully aware of how much I had to learn on the instrument. I took a degree course in double bass at the "Folkwang Hochschule Ruhr" in Duisburg and completed my studies with Michael Wolf at the "Universität der Künste" in Berlin in 1996. Some of the most interesting moments that inspire me to write music have happened in rehearsals with symphony- or chamber orchestras, where conductors would rehearse individual sections, and the way the music and the instrumentation were constructed would open up in a way that the best theory class cannot provide.
While playing in jazz bands throughout my studies, I also had the opportunity to play contemporary music with "Musikfabrik Nordrhein-Westfalen" where I played music by German composer Helmut Lachenmann whose music and personality has left a deep impression. During my time in Duisburg, I took part in workshops with Karlheinz Stockhausen and Maurizio Kagel. Later in Berlin I became a steady member of "United Berlin" an ensemble for contemporary music, with them I premiered a large number of works by young German composers, while also becoming acquainted with the music of Ligeti, Berg, Webern, Schoenberg, I-Sang-Yun and other classic composers of the 20th century avant-garde.
After moving to Berlin in 1994, I began to get serious about learning to play jazz.
I started an intense woodshedding period, transcribed bass lines and solos passionately, and became an active player on the Berlin jazz scene, parallel to my work in contemporary music. I completed a masters degree in jazz-performance and -composition at the "Universität der Künste" in 2002.
During my first years in Berlin I was focusing very much on becoming a good sideman, but writing had always been a passion for me, and in 2000 I started writing for my 9-piece band "Marc Muellbauer's Kaleidoscope". The debut CD of this band "Quiet" was released in October 2004 to exceptional critical acclaim.
I have been teaching jazz double bass at the "Hochschule für Music Hanns Eisler" since 1998.
Beginn 21:00 Uhr( Einlass 20:00 Uhr)
Eintritt frei – Beitrag erwünscht
Einer der Gründe, die den Zig Zag Jazzclub so einzigartig machen, ist, dass er der erste und einzige Jazzclub der Welt ist, dem es gelingt nur durch freiwilligem Eintritt/Crowdfunding Events von Weltklasse zu finanzieren. Und wie machen wir das? Ganz einfach. Während der Konzertpause geben wir bekannt, dass wir Geld einsammeln werden. Bei den meisten Konzerten (außer Jam Sessions) informieren wir unsere Kunden, dass ein Beitrag von ungefähr 15 Euro es uns erlaubt die Musiker gerecht zu bezahlen. Manche geben dabei mehr und andere weniger... und das ist auch in Ordnung. Wir haben auf diese Weise schon Hunderte Konzerte organisiert.
One of the reasons that makes the zig zag jazz club so unique is that it is the first and only jazz club in the world that manages to finance world class events through a crowd funding concept. How do we do it? Its quite simple… during the break of the concert we make an announcement regarding the collection for the evening. For most concerts (excluding the jam session) we inform our customers that a fee of around 15€ per person will allow us to fairly compensate the musicians. Some people give more and some give less… and that´s ok… we ´ve already successfully promoted hundreds of concerts like this!!!