Joachim Kühn is a German pianist of world standing, a stand-alone figure in European jazz. In his new trio, joined by players from a much younger generation, he shows absolutely no signs either of slackening or of surrendering to his age - he is in his early seventies. Kühn’s musical curiosity is as boundless as it always was, his urge to keep creating new music is undimmed. It is as if for him to stand still would be to go backwards. He lives in a finca in a remote part of Ibiza, overlooking the Mediterranean, where he is to be found either at the piano - he plays every day – or dipping into his vast library of music. He has over 1,500 CDs, ranging from old recordings to up-to-the-minute releases.
For “Beauty & Truth” he and producer Siggi Loch have made a selection of new and old pieces, reaching out into unfamiliar repertoire, and recorded them with the new trio. “These are strong melodies which can be given a really distinctive shape” he explains. They are also pieces which in their different ways are of personal significance to him. “Kattorna”, the Krzysztof Komeda composition, is a case in point: “I was present at the recording sessions for the album “Astigmatic” in Warsaw in 1965, and listened in. The memory of having heard this piece came flooding back to me.” Kühn is also to be heard for the first time playing the music of The Doors. There is also a reggae-dub track from Stand High Patrol on the album. It was inevitable that Ornette Coleman, who died in June 2015, and played exclusively with Kühn from 1996 to 2000 would also figure prominently. The title track “Beauty And Truth” is a miniature for solo piano. It serves as a prologue to the album, both setting its tone and defining its concept, which is to get straight to the essence of what each composition is about, to discover its intrinsic truth, and to elicit the authentic beauty from it.
In these twelve pieces a new and different Joachim Kühn can be heard: his piano playing is powerful and clear, and musically he has a way of going straight to the heart of the matter. He is always solidly grounded in the groove, he plays with unconfined joy - and with buckets of soul too. Kühn is palpably excited by his new trio: “After several years, I have now returned to the classic piano trio format. The trio with Jean-François Jenny-Clark and Daniel Humair was in existence for 30 years. It was the trio of my life. The depth and the intensity we found were incredible. In Eric and Chris I have found a new dream team. It is very inspiring to play with them.” Joachim Kühn p / as Chris Jennings b Eric Schaefer dr

Eric Schaefer is not your common-or-garden drummer. He's not one just to sit in the background and keep the groove or brush around on the snare, that's not enough for him. His instrument is a formative element, Schaefer is an inventor, active and creative, and this is what makes him one of “the clandestine stars of the […] German jazz scene“ as Die Zeit writes. Born in Frankfurt in 1976 and educated in Cologne and Berlin, Schaefer is best known as part of Michael Wollny’s Trio [em]; the magic triangle of three harmonising individuals. With their latest CD “Wasted & Wanted“, “Germany's most creative jazz trio“ (Kulturspiegel) triggered off storms of enthusiasm in the media and the public. In 2011 they won the ECHO, Germany's most important music award, as the Best National Jazz Ensemble. A year further on, Schaefer also received the ECHO Jazz for his achievements, as Best National Drummer. Schaefer is not only part of this trio, The Arne Jansen Trio and Rockjazz with Johnny La Marama are two other focuses of his work. His range of musical forms of expression has many layers, from Hardcore Punk to Miles Davis – none of it is a contradiction in terms for him. “With improvisation as the backbone of their work, musicians like [...] Eric Schaefer [...] take it in any number of different directions with uncompromising vitality – free improvisations and classical composition, punk and varied folklore, new or minimal music, pop and electronic,“ writes Neue Zürcher Zeitung about this multifaceted and contemplative artist. Whatever constellation he plays in, Schaefer leaves his personal mark on these bands with his compositions and versatile, extremely colourful, and distinctly individual style. He already has around 40 records out as a band leader, composer and sideman. If there was a Nobel Prize for drumming, Eric Schaefer would be a hot candidate for it, says The Rolling Stone.

Joachim Kühn, born 15 March 1944 in Leipzig, is one of the few global German jazz stars. His piano playing defies categorisation and has blazed new trails for contemporary jazz. The musical citizen of the world Kühn considers himself bound to the jazz tradition, linked to European concert music, but most of all dedicated to a sound that is now. He reveals vehemence and sensitivity, masterful technique and imagination, an unmistakable feel for his keyboard and an unfailing sense of dynamics. Whether in the interplay with long-standing musician partners, in ever changing and often extraordinarily challenging band constellations or alone in his solo gigs, Joachim Kühn succeeds in making music an event.
Kühn has been leaving his mark on the international jazz scene since the 60s. As a 22 year-old, he took part in an international competition for young jazz musicians, and decided not to return to socialist East Germany. Instead he launched a global career. That same year his first album came out on the renowned label Impulse, after playing at the Newport Jazz Festival in the USA.
Since then he has played in often challenging constellations with musicians from all over the world, with the most diverse of musical backgrounds. He worked with distinguished free jazz exponents like Archie Shepp and Ornette Coleman, and with musicians the likes of Billy Cobham, Eddie Gomez, Michael Brecker and Joe Henderson in the 70s fusion scene of the American west coast. Then he formed an internationally leading piano trio in the 80s in Paris with the bassist Jean-François Jenny-Clark and the drummer Daniel Humair.
Just two years after the founding of ACT, he was the focal point of an all-star band in 1994, with, for example, Alfred Mangelsdorff, Klaus Doldinger, Django Bates and the Hannover Radio Philharmonic Orchestra. The large-scale manifesto that arose of a Europe-based jazz music "Europeana" also reflects Kühn's musical influences: Although dedicated to a contemporary jazz sound, he has always felt a connection to European concert music as well.
The genre-crossing concept is especially apparent in his solo playing, which has always been important to Joachim Kühn – and to a degree the true challenge among jazz pianists. So it is that on the solo album "Allegro Vivace" released by ACT in 2005, his own pieces are accompanied by compositions from Bach and Mozart, Coltrane and Coleman. This merging of such musical contrasts again illustrates Joachim Kühn's risk affinity and talent for improvisation.
He shows his virtuosity in duets as well, always with an attentive ear for his partner so they can interact on an equal footing. His collaborations with the up-and-coming pianist Michael Wollny ("Piano Works IX: Live at Schloss Elmau", 2009), the grandmaster of sax Heinz Sauer ("If (Blue) Then (Blue)", 2010) and Archie Shepp ("Wo!man", 2010 on Archieball) were all highly praised by critics. The former was even named Album of the Year by the French jazz magazine Jazzman.
His openness and spirit of discovery led Kühn to put together a trio, the likes of which had never been seen before. In 2003 he found two kindred spirits with regard to the desire to improvise, in the Moroccan Majid Bekkas, who plays the lute instruments guembri and oud, and the Spanish percussionist Ramon Lopez. And they brought with them their own cultural backgrounds and musical experiences. Their first album "Kalimba" in 2007 was followed by "Out Of The Desert" (2009), which was recorded in a session in the northern African desert with local musicians, and by "Chalaba" in 2011.
Considering this abundance of musical pioneers, international collaborations, and his for German jazz unparalleled status, it came as no surprise when Joachim Kühn was honoured with the ECHO Jazz for lifetime achievement in 2011, together with his brother Rolf. The second ECHO Jazz followed one year later. The collaboration of his "desert jazz" trio with the hr big band, "Out of the Desert live at Jazzfest Berlin", was distinguished as the Best Big Band Production.
On "Voodoo Sense", the fifth album with Majid Bekkas and Ramon Lopez, Kühn's respect for tradition is audible. Already the nearly 20-minute opener "Kulu Se Mama" – recorded together with Archie Shepp, a group of African percussionists and vocalists led by talking-drum maestro Kouassi Bessan Joseph – refers back to the Coltrane album of the same name from 1965. Whether with archaic world-music, the blues-soaked saxophone ballad "L’eternal Voyage" written especially for Shepp, studies of pianistic harmonics such as "Crossing The Mirror" or thundering drama such as the final piece "Firehorse" – with a little help from his friends, Kühn has once again taken another step in his search for the magic of his very own music, the Voodoo Sense as it were.
When Joachim Kühn celebrates his 70th birthday on 15 March 2014, he can look back on an amazing career as a pianist. But he wouldn't be Joachim Kühn if he wasn't still making new plans for the future.