Mpodia 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) - (...) Met dit nieuwe product is (...) Susanne Alt aardig op weg zich aan de top van de nationale en internationale jazz scene te vestigen. (...)Fris en aanstekelijkOver het algemeen speelt de band bebop, maar dan wel een erg leuke en moderne variant. De muziek klinkt fris en de melodieën zijn aanstekelijk. De uitstapjes naar pop, soul, funk blijven alle binnen het bekende idioom. Dit maakt het geheel zeer consistent en boeiend. Daarnaast is er voldoende te ontdekken op deze cd, die uitblinkt in variatie: sfeervolle ballads wisselen hoekige uptempo nummers af, met van alles er tussen in. Er staan geen zwakke nummers op dit schijfje. Wat mij betreft steekt er eentje bovenuit, namelijk het licht melancholische ‘African Dream’, met meesterlijk samenspel van de band. (...) Het geluid is zeer volwassen en heeft er met het gitaarspel van Eran Har Even een dimensie bij gekregen, die zeer geslaagd is. Met name in de funky nummers en de ballads komt dit sterk tot uitdrukking. Dit houdt zeker een belofte in voor wat er nog gaat komen. Grappig is de afsluiting, een song waarop Susanne Alt behalve op sax ook vocaal te horen is, en zeker niet onverdienstelijk. Het zal me niet verbazen dat deze muziek het live ook zeker zeer goed zal doen. (Arie Slob)English(...) With this new product Susanne Alt is (...) well on the way to settle at the top of national and international jazz scene . (...) Fresh and catchy In general, the band plays bebop, but a very nice and modern variant. The music sounds fresh and the melodies are infectious. The excursions into pop, soul, funk, stay all within the familiar idiom. This makes it all very consistent and compelling. In addition, there is plenty to discover on this CD, which excels in variation: atmospheric ballads exchange angular uptempo songs, with everything in between. There are no weak tracks on this disc. For me one of them rises above it, namely the slightly melancholic African Dream, with masterly interplay of the band. (...) The sound is very mature and got a new dimension from the guitar playing of Eran Har Even , which iturns out to work. In particular, in the funky tunes and the ballads, this is highly expressed. This certainly holds a promise for what is yet to come. Funny, the last tune, a song which Susanne Alt is not only playing sax but also sings, and certainly not without merit. It will not surprise me that the live music certainly will do very well. (Arie Slob)