File Under (26-08-16)

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) - Thanks File Under for this nice review! Read the original text hereEnglish:With a little bit of fear I insert the cd into the cd drawer. “Saxify” doesn’t sound promising. I have to think of Candy Dulfer, who’s career took off in 1990 with her album “Saxuality”. Anyway, it should be obvious that on Alt’s album - it turns out to be her real name - the saxophone has a leading role. The German is operating from Amsterdam, has been building her career since 2004 and performing along many artists.When I hear the first tone it’s like I am entering a party and it’s not clear yet who has the main role.The funk influences of Prince and George Clinton are very present and not at all boring. On “Saxify” musicians like Fred Wesley (James Brown, George Clinton), Scott Mayo (Earth, Wind & Fire) play, but also members of Gotcha! and Tower of Power. Very fine. Fortunately Alt doesn’t fall into the trap of adoring them too much but knows how to fit the musicians into her own sound. The second track, also title track, she puts herself in a central role and doesn’t let go anymore. The line up is different on every track- except for the lady on the sax - including vocals, but sounds like a whole, it’s one big party on stage and the changeovers are self-explanitory. File under: Funky as hell