Era Jazzu (Poland), January 2026
Read moreEnglish translation:
Amsterdam saxophonist Susanne Alt begins the new year with the premiere of "Dark Horse" - her seventh studio album. Interestingly, the recordings were made during the same inspiring sessions in New York that led to the release of her previous album "Royalty For Real". It is therefore "Dark Horse" a kind of complement to an interesting New York session recorded by Susanne Alt and an elite band of American musicians. The saxophonist's quartet was formed by: keyboardist James Hurt, whose work includes jazz, mainstream and hip-hop and electronic projects, bassist Gerald Cannon - a long-time member of Elvin Jones' band and former music director of McCoy Tyner's formation and drummer Willie Jones III - appreciated for concerts and recording performances with Milt Jackson, Arturo Sandoval and Roy Hargrove.
"Dark Horse" was created at Eastside Sound Studio when Susanne Alt arrived in New York with more material than planned for one album. While "Royal For Real" marked a return to acoustic jazz and paid tribute to the trumpet icon, Roy Hargrove, the new album headed towards discovery, capturing music that emerged naturally. The result is a coherent picture of the saxophonist's artistry: melodic, rhythmic and captivating. The heart of the "Dark Horse" album is the concept from which the album took its name: it is an unannounced, unexpected force that transforms the landscape and rewards perseverance. Susanne Alt embodies this spirit here, suggesting that openness and determination not only overcome uncertainty, but transform it into momentum, creativity, and meaning. The sound of "Dark Horse" is warm and direct, presenting the band up close, with intact raw edges. The sound of the saxophone draws from soul, funky, Latin music and boop, while the New York rhythm section maintains a flexible and dynamic pulse, allowing Susanne Alt's musical ideas to stretch, return and rekindle. "Jazz Biotic" is funky - the album's opening track, leaning towards the fusion of "Altitudes of Freedom" and Charlie Parker's raw, thrilling "Au Privave", "Maple Jam" is a nod to Larry Willis, "Cannonballin'" and "Jonesin'" pay tribute to bassist Gerald Cannon and drummer Willie Jones III, and the energetic "Kalunga Dance" reflects the musicians' energy during the recording.
on 29/01/2026
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Jazzflits 450 (the last edition)English:In 2022, Susanne Alt recorded an album entitled Royality For Real, an album guided by the musical legacy of trumpeter Roy Hargrove. During this inspiring session with Roy's original rhythm section, much music was left unfinished. There was simply too much for one CD, and the pieces not selected turned out to be stunningly beautiful. Therefore, the CD Dark Horse is now being released, and it coincides with a CD launch on January 16th at the Bimhuis (Amsterdam). A selection has been made for the album with many funky, danceable tracks. It's the idiom that fits Susanne like a glove. It's not without reason that she is a star at dance festivals as a DJ and saxophonist, guaranteeing exuberant funky tunes. Her American backing trio has strong roots in acoustic jazz. James Hurt is a versatile keyboardist and has an impressive track record. Bassist Gerald Cannon and drummer Willie Jones III were long members of Roy Hargrove's band. And you can hear that band's ability to blow the roof off in the tight interplay of this tandem. Susanne Alt has a winning combination with these musicians. The short studio conversations that follow the songs on the CD are enjoyable. Alt's wealth of musical ideas is evident from the fact that all the pieces are hers. All, no, one, is by Charlie Parker. Because pianist James Hurt was late for one of the sessions, Susanne played Parker's piece Au privave with Gerald and Willie as a trio. And they performed so beautifully that it earned a place of honor on this CD, Dark Horse. - Read moreEnglish translation:Amsterdam saxophonist Susanne Alt begins the new year with the premiere of Dark Horse - her seventh studio album. Interestingly, the recordings were made during the same inspiring sessions in New York that led to the release of her previous album Royalty For Real. It is therefore Dark Horse a kind of complement to an interesting New York session recorded by Susanne Alt and an elite band of American musicians. The saxophonist's quartet was formed by: keyboardist James Hurt, whose work includes jazz, mainstream and hip-hop and electronic projects, bassist Gerald Cannon - a long-time member of Elvin Jones' band and former music director of McCoy Tyner's formation and drummer Willie Jones III - appreciated for concerts and recording performances with Milt Jackson, Arturo Sandoval and Roy Hargrove.Dark Horse was created at Eastside Sound Studio when Susanne Alt arrived in New York with more material than planned for one album. While Royal For Real marked a return to acoustic jazz and paid tribute to the trumpet icon, Roy Hargrove, the new album headed towards discovery, capturing music that emerged naturally. The result is a coherent picture of the saxophonist's artistry: melodic, rhythmic and captivating. The heart of the Dark Horse album is the concept from which the album took its name: it is an unannounced, unexpected force that transforms the landscape and rewards perseverance. Susanne Alt embodies this spirit here, suggesting that openness and determination not only overcome uncertainty, but transform it into momentum, creativity, and meaning. The sound of Dark Horse is warm and direct, presenting the band up close, with intact raw edges. The sound of the saxophone draws from soul, funky, Latin music and boop, while the New York rhythm section maintains a flexible and dynamic pulse, allowing Susanne Alt's musical ideas to stretch, return and rekindle. Jazz Biotic is funky - the album's opening track, leaning towards the fusion of Altitudes of Freedom and Charlie Parker's raw, thrilling Au Privave, Maple Jam is a nod to Larry Willis, Cannonballin' and Jonesin' pay tribute to bassist Gerald Cannon and drummer Willie Jones III, and the energetic Kalunga Dance reflects the musicians' energy during the recording.
