Aboutjazz.de (juli 2016)

TranslationSUSANNE ALT – Completely in the Groove At some point, she had enough. Not of jazz, but of the jazz business. Back then, Susanne Alt took a different direction. That was quite a turning point, the German saxophonist, who currently lives in Amsterdam, says today. An important one! After an excursion into funk/R&B, she immersed herself in the electro-dance world—performing as a DJ with saxophone. Meanwhile, jazz is allowed back into her life—but please, with soul-infused energy.By Arne Schumacher for Jazzthetik 07/08-2026, Germany Right now, I’m having an incredible amount of fun again. Susanne Alt does not necessarily want to talk about a comeback or a return to the jazz world. After all, she has continued to play jazz gigs. However, the impression of a recent, thoroughly fundamental change in her perspective is supported by the release of two albums. Ten years ago, Saxify was released, an album with which she confidently started a whole series of jazz productions. The funk plate of my dreams is how the Würzburg-born musician, who moved to the Netherlands at the age of 18 to study jazz, describes the album. Saxify featured legendary US funk and soul veterans. However, there had already been signs of a radical change—musically speaking. In her classically cast jazz quartet, Alt had always shown a sense of soul-jazz and a passion for grooves, which she says is in her blood. Parallel to my jazz education, I was always interested in other music: pop, funk, dance. When I brought my first band to an end, I was already appearing as a guest with house DJs. These electronic things were viewed with quite a bit of suspicion in jazz circles. For me, it felt entirely natural. Especially in a city like Amsterdam. There was always this vibrant club scene here, where instrumental electronic music was also played. That really appealed to me. This shift was preceded by a years-long struggle for recognition, gigs, appropriate payment, and ultimately, economic survival as a jazz musician. In 2003, after a three-year study phase in Berlin, she had returned to the Amstel River, bringing with her—besides her highly developed craftsmanship—an artistic maturity and an individual expression. And she knew she absolutely wanted to be independent. A year later, the saxophonist (who plays soprano as well as flute alongside alto) released her debut album on her own label, Venus Tunes. With each subsequent production, her career advanced. On the other hand, she had to realize that achieving a better status in the jazz world did not automatically translate into appropriate financial compensation for concerts. The frustration grew—in many respects. As a bandleader, always having to drag everyone along under the old model, and just trying to make it work, was extremely exhausting and ultimately really annoying. Looking back, she has to laugh, even when thinking about the sometimes lethargic band memebers. Even with all the pressure and stress, I was still in a relatively good position, despite the cultural-political conditions in the Netherlands, which have worsened since 2010. But I felt a musical stagnation. I just didn’t want to keep repeating myself. The transition with Saxify reshuffled the cards. After Alt was booked more and more as a soloist for DJ sets, people began asking her if she would like to DJ herself. She took the step. And she gradually established herself as a DJ, with her sax always a key part of it. It was just a breath of fresh air. Sometimes it’s healthy to do something else. I wanted to see how it would develop. Meanwhile, tracks from Saxify were making the rounds in remixes by respected club producers. To bring everything back to the stage, she founded her all-female trio Venus Tunes Live. Soon it became clear that all of this was also economically highly rewarding. Whether she missed jazz during those years? No, not really, she smiles. That changed slowly in the wake of the Corona crash. The result: a whole new series of compositions—and an incredibly well-cast studio production in February 2022 in New York City, featuring James Hurt (keys), Gerald Cannon (b), and Willie Jones III (dr). This session yielded enough material for two albums at once. Royalty for Real is an homage to trumpet player Roy Hargrove. With Dark Horse, she recently followed up with an album that emphasizes the groove side through a strong use of keyboards. Her alto sax sound is better than ever. You can hear that Susanne Alt feels completely comfortable in this context, which unites different aspects of her journey. She also speaks of a new focus. And she is once again leading a live band, a six-piece working band. Does she feel a new inner balance? I feel completely in motion right now! As you change, you see everything as an enrichment, because you stay active and grow. You look at things and think: What is my role in the grand scheme of things, what can I contribute? I don’t want to hear the endless complaining anymore. Part of this mindset includes her teaching activities; alongside sharing her broad experience at the University of Arts in Arnhem, she is involved in targeted cultural-political engagement. This includes strengthening the network of jazz communities to help jazz advance even in difficult times. Under the banner of a good groove! Current Albums:Susanne Alt: Dark Horse (Venus Tunes) - Thank you Sven Sorgenfrey for this amazing review! Click to enlarge to read in in German, for English scroll down.Original text: aboutjazz.de English:You need a strong antidote to this north german summer, especially if one still has to fill in the tax return. Thanks to Susanne Alt I can cope with the circumstances during these weeks. Her new album “Saxify” is like fresh cheerful funk fireweorks. You wouldn’t guess it’s from North Europe.Born in Würzburg, living in Amsterdam, she plays her saxophone with recognizable North Carolina idiom. Maceo Parker plays 98% Funk and 2% Jazz, she plays 12% Jazz, adds 20% Hiphop without reducing the Funk part. Equals 130%. The ingredients: powerful drums (Jamal Thomas), pointed bass lines, cookie dry and crispy saxophone and guitar licks, asymetric licks, laser sharp horn parts, synthetic keyboard sounds, vocals (often call&response). It’s grooving and funking to one’s heart’s content and only very very few people accomplish this.Also, the album is produced so tight, filled with ideas - there one more sound, there one more lick, an unexpected break, a lustily laughter - one likes to listen and gape again and again.Susanne Alt was in charge of everything: She composed, arranged and produced the tunes, played alto, tenor (and soprano, added by admin), played flute and sings backing vocals. With superb intuition she invited suitable musicians who’s personal styles she fuses together to a harmonious entity. You can hear a.o. Fred Wesley, Michael Hampton, Michael “Clip” Payne, Tracy Lewis, Rodney “Skeet” Curtis, Scott Mayo, Bruno Speight, Jamal Thomas, Reggie Ward, Glenn Gaddum Jr, Gary Winters and the fantastic Berenice van Leer.Lyrics were created as a team. It doesn’t always work out. A sample: “we feel the advantage of the energy around us” - poetically there’s some space left upwardly open. But there’s also: “Open up. Look around. Realize: Life is good.” This is verbalized so concisely it carries one through everyday life.The slow songs are - like Maceo - solidly delivered duty. One needs it to take the pressure off on stage. Afterwards everyone is happy when the party continues even more crispy.Susanne certainly makes good on a promise: “you will be, you will be surprised, saxified.”