Maxazine 05-2012

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) - Bij saxofoon denken we in eerste instantie aan internationale grootheden als Ronnie Scott, Michael Brecker, Charlie Parker, Scott Hamilton en John Coltrane. Allen veel te vroeg overleden, zoals dat helaas structureel met saxofonisten gebeurt. De circulair breathing-techniek is de oorzaak dat weinig saxofonisten echt oudworden, een uitzondering daar gelaten. In Nederland is saxofoon vooral bekend geworden door Piet Noordijk, Hans en Candy Dulfer, en tegenwoordig door de Engelse Nederlander Benjamin Herman en de echte jonge lichting: Tineke Postma en Susanne Alt.Die laatste, de van oorsprong Duitse, maar al jaren in Amsterdam wonende Alt, is de meest funky saxofoniste van die twee en om dan als frontman/vrouw je kop boven het koren uit te krijgen is een prestatie die niet echt velen voor elkaar krijgen. Haar vierde studio-album 'How to kiss' heeft het daglicht inmiddels gezien, en zoals we bij de sexy saxofoniste gewend zijn is de productie weer op en top verzorgd.Een afwisselende mix van vlotte funk en smooth jazz, waarbij een enkele keer een mooie vergelijking met John Coltrane in me op komt. Nee, voor harde power-jazz à la Dulfer hoef je bij Alt niet aan te komen. Eigen, gladde, composities, maar ook covers, zoals 'What's going on' (Marvin Gaye), 'Cold sweat' (Pee Wee Ellis) of 'Just a little lovin', van Ray Charles, waarin Susanne opeens zelfs haar stem laat gelden als instrument, in plaats van die zo bij haar passende Alt-alt. Het klinkt in eerste instantie wat onwennig om aan te horen, maar het experiment van Alt geeft uiteindelijk wel aan dat er meer potentie zit in de saxofoniste dan alleen haar saxofoon.Most funky komt Alt uit op 'No Rules' waarin de saxofoniste ook duidelijk laat horen de regels overboord te gooien en een spetterende serie van solo's in verschillende stijlen door het nummer gooit. Op het nummer is ook plaats voor de andere muzikanten op 'How to kiss', waarbij vooral Thijs Cuppen zijn toetsen in volle vaart laat dansen.Vermeldenswaardig zijn natuurlijk ook de gastmuzikanten. Alt maakt enkele jaren geleden haar faam meer dan waar door niemand minder dan de grote Fred Wesley als trombonist op haar album te krijgen en ook ditmaal sprak de saxofoniste weer enkele fantastische muzikanten aan. Jos de Haas (New Cool Collective) is dan wel gewend om met een grote saxofonist op te nemen, op 'How to kiss' lukt het Alt om De Haas bij tijd en wijle boven zichzelf uit te laten stijgen op percussie. Zo ook Focus-legende Thijs van Leer, die zijn fluit voor Alt inruilde voor enkele nummers op Hammond-orgel. (...)Met 'How to Kiss' laat Alt horen dat de grote jazz-festivals niet voor niets al om de paar jaar gebruik maken van Alt's kunsten. (...) Norman v/d WildenbergEnglishAt first instance, when we think about saxophone we think of international greats like Ronnie Scott, Michael Brecker, Charlie Parker, Scott Hamilton and John Coltrane. All too early deceased, as unfortunately happens structurally to saxophonists. The circular breathing technique is the reason that few saxophone players really become old, of course there are exceptions. In the Netherlands, saxophone became famous by Piet Noordijk, Hans and Candy Dulfer, and now by the English-Dutch Benjamin Herman and now the really young generations: Tineke Postma and Susanne Alt. The last one, is originally from Germany, but lives for many years in Amsterdam now. Alt, the most funky saxophonist of those two and achieves to be the front leader, which not many people manage to be. Her fourth studio album How to kiss' has come out, and as we are used to from the sexy saxophonist, the production is again well taken care of.A varied mix of fluent funk and smooth jazz, with occasionally a nice comparison arrising with John Coltrane. No hard power-jazz à la Dulfer. Own, smooth compositions, but also covers such as What's going on (Marvin Gaye), Cold Sweat (Pee Wee Ellis) or Just a little lovin ', Ray Charles, where Susanne suddenly her voice asserts as an instrument, instead of as appropriate in her Alt-alt. It sounds a little strange at first to hear, but the experiment of Alt indicates that ultimately there is more potential in the saxophonist than her saxophone only.Alt is most funky on No Rules where the saxophonist also clearly shows us that she throws the rules overboard and throws a spectacular series of solos in different styles throughout this tune. In this tune is also room for the other musicians on 'How to kiss'. Especially Thijs Cuppen lets the keys dance in full speed.Noteworthy are of course also the guest musicians. Alt got fame a few years ago by getting on none other to play on her album than the great Fred Wesley on trombone. This time the saxophonist again persuaded some fantastic musicians. Jos de Haas (New Cool Collective) is used to record with a great sax player. On 'How to kiss' Alt succeeds to let De Haas at times rise above himself on percussion. Similarly Focus legend Thijs van Leer, who traded his flute for a few songs on Hammond organ.(...)With How to Kiss' Alt shows that the big jazz festivals are using Alt's arts for a reason. (...)Norman v/d Wildenberg