Фирма Traumton

Those attempting to describe Mario Roms INTERZONE seem to be looking constantly for superlatives. After a concert at the famed Rochester Jazz Festival in New York, the festivals main critic declared that I have yet to hear a group of musicians – a

Record Label: Traumton Style: Pop

Record Label: Traumton Style: Jazz

Record Label: Traumton Style: Jazz/Pop

Record Label: Traumton Style: Modern Jazz

Record Label: Traumton Style: Modern Jazz

Record Label: Traumton Style: Modern Jazz

Record Label: Traumton Style: Indie Pop

Since their debut about five years ago, we all know that Frederik Köster’s band Die Verwandlung [The Metamorphosis] lives up to its name. In September 2015 they released the outstanding, widely acclaimed album Tension/Release. At NDR [Northern German Broadcasting] it was the CD of the week, and they called it “confidently and surely at the center of contemporary jazz. Best of ‘Made in Germany’.” Werner Stiefele states in Stereoplay: “A highlight of chamber musical jazz.” Most recently the quartet of award winners (Köster, Sternal und Burgwinkel have all received Jazz-Echo awards, in addition Köster was given the Neue Deutsche Jazzpreis and the WDR-Jazzpreis) fascinated their audiences on festival stages with surprising twists in timbre and groove. Lately the stylistic range even incorporates Arab influences. However, still nobody expected that Köster and Die Verwandlung would present a production with a classical orchestra next. With this, the widely traveled quartet from Cologne moves into a terrain that is explored comparatively seldom, even in international context. Coherently uniting a jazz combo with Classically trained string players is about as easy as creating new dishes with well-balanced flavors from French and Asian cuisine. With his Homeward Bound Suite Frederik Köster proves that it is possible. “I grew up with large ensembles,” the musician born in 1977 explains, “I wrote my first big band arrangements at the age of 14.” Prior to that he played with the brass orchestra of his hometown, later Köster studied trumpet, composition and arrangement in Cologne. Since then he has worked with Albert Mangelsdorff, Randy Brecker, Ack van Royen, Lalo Schifrin, Trilok Gurtu, Nils Petter Molvaer, Biréli Lagrène & WDR Bigband and has composed for various orchestras. Nine years ago he released a big band CD under the name Frederik Köster Jazz Orchestra. “To work with a classical orchestra, has been on my wish list for a long time,” Köster says; a logistically and financially ambitious undertaking. Eventually the annual festival “Sauerland Herbst” came to his aid. Over the timespan of two decades Köster has played there sporadically; already in earlier years the promoter had initiated collaborations with the Hagen Philharmonic Orchestra and other soloists. In the season of 2016/17 the circle was closed. “It was important to me to compose something new,” Frederik Köster describes the starting point of the collaboration. “I was always a fan of program music, for instance Mussorgsky’s Pictures at an Exhibition. While I was writing the music of the suite, I thought of my old homeland and the scenery of the Hochsauerland.” So almost inevitably, there is a touch of melancholy in the leitmotif of the Homeward Bound Suite. But that is only one of the many facets of this atmospheric, at times suggestive suite. Köster avoids direct musical quotes, say from the traditional music of the region. Instead, in the piece “Land der 1000 Berge” [Land of a Thousand Mountains] he illustrates the Ruhr River winding there, with piano and strings in the style of Smetana’s Moldau associations, to then strive to the peak with more and more brightly gleaming trumpet and surging orchestration. The multilayered track “Wurzeln und Flügel” [Roots and Wings] refers to the great poet Goethe and begins with brass, as a synonym for Köster’s roots. Through a string passage the composition transitions into a shimmering trumpet solo, which then shifts the emphasis more towards the quartet. A distinctive rhythmic riff also played by the orchestra characterizes the further course of the piece, over which Burgwinkel plays soloistic kicks and accents. “Homeward Bound” gives Sebastian Sternal room to shine as a pianist; in “Kyrill” Köster melodiously and dynamically reflects on the storm of the same name, which left behind profound traces in nature. With almost 12 minutes it is the longest, most complex and edgiest piece of the suite. There is an Olivier-Messiaen-mode and an unconventional double bass solo by Joscha Oetz interwoven in this track. Furthermore, there are rhythmically accentuated, suggestive and onomatopoeic passages, which lead to an almost cacophonous crescendo. The first preliminary talks for this project took place more than two and a half years ago. Already during his work on the first sketches, Köster developed clear conceptions of instrumentation. Besides the mentioned inspirations, painters of tonal color like Debussy, Ravel and Stravinsky crossed his mind, as well as soundtrack composers. “I wanted to write something that was all in all relatively harmonious compared to the music of Die Verwandlung,” Köster explains, “it can sound a little bit monumental in some moments, but never broad or even pompous.” For two months Frederik Köster worked on nuances and extensive notation. “Of course the 60 musicians of the orchestra are less flexible than Die Verwandlung, so everything has to be meticulously specified. In addition, we have different views of rhythm, timing and phrasing.” For the details of formulation, Köster sought advice from his longtime musical partner Sebastian Sternal, who has proven to be a brilliant arranger with his manifold prizewinning Sternal Symphonic Society. For the Hagen Philharmonic Orchestra, founded in 1907, this was by no means the first border-crossing cooperation. In the season of 2011/2012 they worked with Jon Lord, founding member and keyboarder of Deep Purple, who stayed in town for a while as “Composer for Hagen”. During the course of this involvement the philharmonic orchestra developed several projects with the former pioneer of classic rock. Prior to that and afterwards the orchestra played concerts with the rock bands Extrabreit and Luxuslärm, the jazzman Roby Lakatos, with the musical cabaret artist Hans Liberg and with Jochen Malmsheimer. In 2015 the orchestra under musical director Florian Ludwig was awarded the prize “Best Concert Program of the Season” by the DMV (German Music Publisher Association). The Homeward Bound Suite adds a new, exciting facet to Frederik Köster’s multifarious oeuvre. The trumpeter masterfully unifies the talents of his intuitively interacting, highly musical soloist-quartet with the fullness of the large body of sound. The concerts so far have shown that Köster’s very personal and lively music fascinates beyond the boundaries of generation or taste preference. Especially since it cleverly circumvents all traps that lurk in such a co-operation. There are no stereotypes, just like there is no academic-unwieldy denial of melody to be found. With this album, Frederik Köster can doubtlessly manifest his status as one of the most interesting trumpeters and composers, of his generation at the least Record Label: Traumton Style: Modern Jazz

If it had been up to previous reactions of press and audiences, Patty Moon’s new album would have been released long ago. After all, the second CD Lost In Your Head had already been highly praised by everyone back in 2008. Stern magazine characterized the production as “magical”, the critic of Jazzthetik described it as a “genuinely complete artwork” and the hi-fi magazine Audio showed great enthusiasm for the “filigree folk-pop”. The tango-inspired piece Straight Alone found its way into Wolfgang Murnberger’s film Mein bester Feind [My Best Enemy] with Moritz Bleibtreu. Two years later Patty Moon wrote three pieces for Hans W. Geissendörfer’s cinema production In der Welt habt ihr Angst [You’re Afraid In the World] with Anna Maria Mühe and Axel Prahl. Patty Moon’s third album Mimi and Me in 2011 was also highly acclaimed, particularly since it surprises with melodies that are unobtrusively, elegantly catchy. “A miracle work in which you hear the elves dancing”, Hörzu magazine jubilated and Melodie & Rhythmus deemed it “enigmatic, magnificent music that is no less original than that of a Kate Bush or Tori Amos.” Head for Home builds on this and simultaneously exhibits new facets. The thoughtful attitude is still there, just like the wonderfully atmospheric arrangements with chamber music strings and the Patty Moon-typical pictorially stunning poetry. Maybe her melodies are a little dreamier nowadays and together with certain harmonic changes they occasionally seem like a Black Forest response to Icelandic pop-melancholies. It quickly becomes apparent that the music sounds even more minimalistic, more personal than before and appears to be closer to the singer and the listener. Similar to a club concert, where the artist sits some three arm-lengths away from the audience, it comes across very directly, without any electronic effects. The former duo project has since become a solo venture. This entails that in addition to composition and lyrics, Patty Moon is now also largely responsible for arrangements and production. Although Patty Moon has taken a lot into her own hands, for example preparing the various parts of the delicately romantic strings at the computer, she didn’t want to record Head for Home completely single-handedly. She found new collaborators in her close proximity. The string section is coming from the Freiburg conservatory and plays a central role alongside Patty Moon’s piano. Two horns, bass and drums provide relatively familiar sounds, while singing glasses or beat boxing are a bit more unconventional. Patty Moon deliberately allowed certain untidiness. “The piano is very old and hence the pedal and one key make some noises,” Patty Moon laughs. “Of course that is not so perfect, but I find that it gives the whole thing a loving touch.” Also her clattering, jingling toy piano would scarcely be heard on other records. Another unusual idea is using the mechanical ticking of a medical MRT as a symbol for the constant restlessness in one’s own head. Or the sound of a spinning pot as an answer to the question: which sounds does the world make when it spins? To discover all of these sounds however, you need to listen quite closely, since many things happen in the background to conjure atmosphere. The album’s title, Head for Home has a double meaning to Patty Moon: to direct your path towards home and to be at home in your head. “For me, songs are the only true way to express myself. For certain times and soul states they are even a home to me. And where do music and text develop, coalesce and merge? In the head of course!” In 2011 a critic of the FAZ already praised the timelessness of Patty Moon’s pieces, “which don’t stick to the heels of trends.” He continues, “not least due to the English texts, the trio appears European in the best sense.” Both statements still hold true for the current Patty Moon. On Head for Home another aspect is more evident than ever: good songs always move the audience, whether in minimalistic or opulent arrangements. Patty Moon’s new album exemplarily proves how sought out musical methods and vivid poetry can be concentrated to enormous intensity. Record Label: Traumton Style: Pop

Eight years after his last album Seltsam erscheint unsere Lage [Our Situation Seems Strange], Michael Rodach is now releasing his sixth solo album with a title just as poetic. A picture that shimmers, that tells of rising up and rounding off, of departure and completion. On the one hand time seems to be a wellrounded matter that lacks nothing and where nothing is missed, but on the other hand also seems cyclic in the sense that it always lets us return to the beginning. Exactly this slight discrepancy suits Rodach well. “I like this certain vagueness; it creates space for the illogical, for the antithetic,” he says. “Of course I don’t know if time is round, but I’ve always liked the round dials on clocks for example. They perfectly express the circle that closes again and again and doesn’t represent an end, but rather goes into the next round over and over. When we celebrate our birthdays, we count how often we have circled the sun with our planet.” Often we associate time with impermanence, talk about how it passes, elapses, trickles away and how intangible it is. Especially farewells let us realize that. In the past years Michael Rodach experienced the decease of his parents; an experience that deeply influenced his understanding of time. “When the long and throughout pleasant life of my parents ended, all of us involved felt the phenomenon of time; the time that still remains and the time that had passed. It was an almost peaceful understanding of something coming to an end. Regarding their lives we realized: that was a well-rounded success. If it goes into the next round in this case, nobody can say.” On his solo albums Michael Rodach was always a multi-instrumentalist, sound explorer, tinkerer, developed his own samples, listened deeply into everything and was a fascinated discoverer of everything that creates sound. Especially the numerous audio dramas, for which he developed and composed sound and music, show this love for adventure. It suits him to immerse himself in a subject matter, to dive into depth for finding new sounds and atmospheres. With his new album, he now returns to his starting point in a very extraordinary way. Like none of his albums before Die Zeit ist rund is a guitar album and explores the countless tone qualities and facets of this “marvelously imperfect instrument,” as Rodach describes it. “That is what makes it perfect to me. I love the guitar. Already in the process of tuning, I turn the machine head and over a gearwheel and a shaft I change the tension on the string, which then oscillates faster or slower over a certain timeframe. Playing the guitar also means that I need to move my hands or fingers from one point on the guitar to another within a certain timeframe. If I swing my arms around now, they will make nothing but circles, because they’re obviously attached at the shoulders. The same principle applies to the hands and fingers. That means that I produce nothing but circular shapes with my fingers and hands while playing guitar. Since we’re talking about music here, these circular motions are also closely linked to time. In particularly wide-awake, conscious moments, when everything flows together with everything, …then time is round.” Rodach perceives it as great fortune to have grown up in a world, in which he had access to music from all kinds of genres. In Hitchcock movies he was fascinated by the fabulous music of Bernhard Hermann, later Nino Rota and Brian Eno enthralled him. On the other hand the blues of John Lee Hooker was kind of a staple food for him. Thus, all kinds of musical styles were inspiration to him and in no way disturbed each other, but rather got along well for the most part. “Now, after many years I notice that when I compose, without the intention to do so, I often mix elements of the blues with musical styles that would not necessarily be associated with the blues. In this sense, Die Zeit ist rund almost became a blues album. ‘Musical storytelling’ is a trait of the blues to me and very often the basis of my compositions,” Rodach says, not lastly because most of his compositions were written for audio dramas and theatre pieces: so for stories essentially. Storytelling counters impermanence. Loss is always also a loss of history and stories. Who was present? Whom can we ask? Who can report what happened? As long as stories are told, memories stays alive. Rodach enchants this storytelling, joins the volatile, brittle with the iridescent and whatever he touches and whatever touches him turns into sound. A very well-rounded affair. Record Label: Traumton Style: Electronic / Ambient

Handmade jazz with space to breathe. The recording list shows that in Hendrika Entzian's quartet has done something: Matthew Halpin is new to the debut "Turnus" from 2015. But the change of the saxophonist is not responsible for the album title. "Pivot means the point at which something turns or changes," explains the bandleader, "which for me is a good picture for the quartet's playing style. Basically, the compositions represent basic scaffolding by each musician in one direction or another Can be steered. " Her style of writing has also changed since "Turnus", due to collaborations that brought new musical influences, as well as her master's degree jazz composition and arrangement. One detail came to another, and so Entzian developed a sound concept for "Pivot", to which Halpin and his equally elegant as well as pointedly powerful game ideally fits. "Its sound and energy can take the band by the hand and steer it." As a composer and producer, the self-confident bassist preserves the musical overview; on the other hand, she does not care to give commands. Their compositions are kept short and deliberately offer many possibilities to make something out of it in interactions. "We do not continue to play freely improvised music, but improvise over structures that resemble songs. Record Label: Traumton Style: Jazz

Since the Lebanese poet Rabih Lahoud and the trumpet player from Schwerin Marcus Rust accidentally met each other in 2010 they have created a pioneering and intercultural music with pianist Clemens Pötzsch and drummer Demian Kappenstein right in the middle of Germany. The band’s music ranges between contemporary jazz, new classical, world music and pop and combines them with oriental sounds and Arabic poetry. The band’s exceptional singer, Rabih Lahoud, tells tales of distant lands using his emotional singing incorporating contrasting sounds to become one in the music. Masaa has distanced itself from typical oriental clichés creating a truly unique style. The four musicians create a poetic and musical mosaic by inweaving their own personal worlds and thereby create a work which portraits the diversity of life. This groundbreaking concept can be heard on their two records: Freedom Dance (2012), Afkar (2014) . Masaa has been awarded the Bremer Jazzpreis in 2012 as well as the audience award of Creole in 2013 and the Förder-RUTH of the Rudolstadt-Festival in 2015. Right from the start the ensemble has made an effort to carry their work out into the world: Masaa performed in Eastern Africa, in Lebanon and Jordan as well as Spain and England. In 2015 the quartet teamed up with Israeli singer Yael Deckelbaum and sent out a sign to support the peace process between Jewish and Arabic culture. In may 2017 the third album "outspoken" will be released via Traumton, the renowned Berlin-based independent label. Record Label: Traumton Style: Jazz

From all the unconventional projects Sebastian Gramss has initiated, Slowfox is the most melodic. Essentially that is true; nonetheless, also this assessment should be seen in relation. Of course ECHOaward- winners Gramss, Hayden Chrisholm und Philip Zoubek are much too reflective to stray onto the thin ice of entertainment. “We invite the listener by connecting to something familiar,” Sebastian Gramss describes the starting point from which the trio develops chamber-musical aesthetics of sharpened senses. Gentle Giants comes alive through a subtle profoundness, in which there is a lot to discover: harmonic finesse, elegant sound ideas, and fine imaginative powers. Bandleader Gramss, who also functioned as the producer of the record, calls the music “Melodic Avantgarde”. Different from the subversive avant-garde of earlier decades, Slowfox only changes a few specific rather than all established parameters. The open approach of the trio brings together crafty structures and improvisations and appeals to intellect and heart alike. Instead of bold speed or muscle flexing there are atmospheric nuances and slender sounds, which interlock in transparent arrangements. At the first listening the omission of any percussion already becomes apparent. Certainly Slowfox is not unique in this aspect, although the concept still seems quite uncommon in a jazz-context. Of course Slowfox can also swing without a specific beat, however, other qualities are the focus here. Unlike the debut album released in 2014, all compositions on Gentle Giants are written by Gramss specially for this formation. “On the first record we explored the possibilities of the new formation and therefore I resorted partly to tried and trusted material,” Gramss recollects. “Thereafter the band sound was generally clear.” Subsequently the trio played live a lot and carved out its contours more and more clearly. It was essential to this new work, to carry on the individual path. It took about a year to find fitting pieces and to formulate them, Gramss says. In the summer of 2016 there was an extensive tour, so Slowfox had the chance to bring many of the pieces from Gentle Giants to life on stage before they went to the studio in mid-September. Born 1966 in Wilhelmshaven, Sebastian Gramss began playing guitar and electric-bass, which later led him to the double bass and it was Louis Armstrong, Progressive-Rock and Weather Report that brought him to jazz. In the past decades he has worked with sound-rebels like Fred Frith and Elliot Sharp, as well as free jazz pioneer Peter Brötzmann and has written music for Pina Bausch and Hans Kresnik. Gramss’ most unusual project is probably the orchestra consisting of 50 bassists named Bassmasse [Bass mass]. Gramss already played with Hayden Chrisholm before Slowfox; back in 1996 they were already sharing a rehearsal room. The saxophonist with the clear tone came to Cologne through a DAAD-scholarship and in the mean time also studied in Japan and in India. On his solo debut Circe he amazed with a self-devised microtonal system and since then Chrisholm played with Root70, David Sylvian and others. Furthermore, he created music for films and installations of Rebecca Horn. In 2013 he was awarded the SWR-Jazz-Prize. Philip Zoubek studied in Vienna and from there resettled to Cologne in 2001. For over 10 years the unconventional pianist has been in contact with Gramss and also played with Louis Sclavis, Rudi Mahall, Simon Nabatov, Clayton Thomas and many more. His trademark is extensive preparation of the grand piano with aluminum pots, glasses and plastic toys, which decisively expand on Cage’s basic idea. Just like for their debut album, Slowfox has found a poetic guiding motif for Gentle Giants as well, and its words were interspersed throughout the titles in the track listing. Since the order of the compositions on the album obviously follows a tonal dramaturgy, some of them now randomly carry peculiar names like “Were”, “To Be” or “The”. The entire quote - “And those who were seen dancing were thought to be insane by those who could not hear the music“ - is accredited to Friedrich Nietzsche, Gramss says, but it is uncertain if it really originated with the philosopher. What is for sure though, is that the clarity and deeper meaning of the sentence Slowfox very well. The trio’s nuanced music can make the mind dance and its listeners will definitely not be declared insane Record Label: Traumton Style: Jazz

An iridescent fusion of wind instrumnets and electronics makes for entertaining sci-fi jazz. Niels Klein has always questioned genre boundaries,, his interest in music and sound is far too wide. "What is jazz at all?" Asks the saxophonist and clarinetist. His answer: "Most of what is interesting leaves behind traditional categorizations." Born in 1978 in Hamburg and since his studies in Cologne, he has distinguished himself as a composer and director of various formations in recent years. While Klein was awarded several times for his elaborate compositions and his expressive and colorful play, he goes with his quartet Tubes & Wires in other directions. Here, the tension field of natural and electronically generated sounds, the encounter of wood and electricity is explored. In addition, solos and sounds are equally justified. At the same time, Klein again demonstrates his sense for special concepts. The dazzling fusion of blues and electronics, the mix of atmospheric-refined banding and exciting improvisations, gives Tubes & Wires' second album an equally idiosyncratic and entertaining sci-fi jazz. Most of the songs were recorded live in the studio in three days. About half of the repertoire had already written the quartet on tour, the rest wrote to Klein within a year. Record Label: Traumton Style: Jazz

It was a distinct artistic idea that prompted Sebastian Sternal to lure the internationally celebrated Larry Grenadier from New York to Cologne. After Sternal’s two ECHO-Award-winning, large-scale productions under the name Sternal Symphonic Society, the virtuoso pianist, composer and arranger wanted to play in ”classical” trio instrumentation again. “After the orchestral, late Romantically inspired timbre of the Society, I had an album in mind, that exhibits a more rhythmic and physical attitude,” Sternal summarizes the idea in a sentence and adds: “It is about melodies, the energy in music and about swing; of course in a modern aesthetic, not necessarily in the traditional sense.” Sternal’s artistic reflections quickly led him to Larry Grenadier. The 51-year-old American from San Francisco initially studied English literature at Stanford, then settled in New York via Boston as a jazz musician in the mid 1990s and is a renowned specialist for trio formations. Since 1995 Grenadier played in Brad Mehldau’s trio and since 1997 with the trio of Pat Metheny. Furthermore he was active with the band Fly with Mark Turner and Jeff Ballard, with Larry Goldings and the legendary Paul Motian, played in a production by Charles Lloyd, in the studio and live with John Scofield and many many others. “I have heard Grenadier so often, that I already had an emotional connection to him even before our first exchange,” Sternal laughs. “His sound and his perception of groove exactly match my ideal.” For the drums only his longtime companion Jonas Burgwinkel came into question for Sternal. Aside from the fact that both are perfectly attuned to each other, the also ECHO-Award-winning drummer distinguishes himself through a recognizable own style and exceptionally variable thinking. Burgwinkel’s talent for sound detail, infectious grooves and complex densification is an enormous gain for any ensemble. Doubtlessly the prominent transatlantic trio primarily comes alive through the individual quality that characterizes Sternal’s ingenious compositions. Besides the arcs of suspense inherent in these, the interplay and dynamic of the band are also captivating. No matter if flowing or erratic, with nuances or rhythmic verve, the music has profile. Sternal, Grenadier and Burgwinkel show character, are audibly enjoying themselves and thereby please both mind and soul of their listeners. Record Label: Traumton Style: Jazz

The most famous listing of musical instruments in pop history goes like this: “...grand piano...reed and pipe organ...glockenspiel...bass guitar...double-speed guitar” - a soft but clearly audible narration which then goes on, not without pride: “two slightly distorted guitars.”* What has that whispered list got to do with this CD? And why exactly did Mike Oldfield´s words “slightly distorted” („Tubular Bells“, 1973) occur to me as I listened? Firstly, a picture is often rendered beautiful by adding only a slight distortion. The same can be said of sound. Sometimes a bit of dirt under the fingernails of the music-makers’ hands appeals to us. Now and then, Matthias Loibner’s hurdy-gurdy sounds “slightly distorted”, and this effect doesn’t necessarily have to be made with the help of electronics. When Loibner activates his buzzing drones (please don’t ask me how this works, you can read about it on his web site), a bolt of lightning flashes through the music. Franz Hauzinger’s sound palette covers “slightly distorted colours”, too, as if a piece of tissue paper were laid over his clear tone. And finally, it is self-evident that Peter Rosmanith’s boundless variety likewise includes “slight distortion”. Secondly, I wish, time and again, that someone would whisper in my ear, tell m which instruments are playing, what is “happening” with them at any given moment. Like good synchronization at the lower edge of the screen, hearing something like this would make listening easier. Naturally, the musicians would tell me that such a guide is impossible, “des spüt’s ned”, (“that’s out of the question”). And that is fine, because you should slip into the music with your ears, to make sense of it, track by track, piece by piece. The whole-, half-, and quartertone trumpeter of all classes, the liberator of the hurdy-gurdy, and the honourable professor of rhythms: They have played extensively, for decades they have been present in a music scene that has defies any labelling. Each of them has his delicatessen, ”Brot und Sterne - (Bread and Stars)” making only a small portion of their broad array of wares. And it couldn’t be any other way, if you want to keep your head above waters that flow far from the mainstream. I do not know if the title of their CD „Tales of Herbst (Autumn)“ has anything to do with their biographies. Maybe there´s a hint that Autumn is the best season for creating stories. Stressful multitasking among the most diverse projects has made Hautzinger, Loibner, and Rosmanith into incomparable language artists. Their vocabulary is so rich, that they can afford to take the risk of free improvisation. There certainly is no dearth of ideas - it is rather a question of leaving the superfluous. Thus the most magical moments of this album come out of deliberate sound-castigation, taking the silent way. It is nothing more than logical, that, among a plethora of their own compositions, the only cover version on the CD is on a work with very few notes … Finally, when I listen to this wonderful album, two other song titles come to my mind: They precede the original “In a Silent Way (1969): “shhh/peaceful”… Record Label: Traumton Style: Jazz