Musik an sichEnglish:
Susanne Alt, born in Würzburg, currently works in Amsterdam. After initial studies in Nuremberg, she moved to Hilversum and Amsterdam in 1996 for further training, followed by studies in Berlin.
She has been musically active since 1999, playing in various ensembles, and released her debut album in 2004. Seven albums later, she presents Dark Horse. Her previous album, "Royalty For Real," dedicated to the late trumpeter Roy Hargrove, was released in 2024. The songs for Dark Horse, eight in total, come from the same recording sessions for that release. Seven of them are original compositions; only "Au Privave" is a cover of Charlie Parker's song.
The music has a funky groove, incorporating elements of jazz and soul, as well as Latin American influences. The sound is quite accessible and presented in a straightforward manner, ultimately without many rough edges or experiments. The opening track is quite cool and funky, with the organ adding appropriate accents. The album continues with a typical fusion sound, at times reminding me of my colleague Candy Dulfer. The sound often feels "matter-of-fact," evoking sounds from the seventies, as seen on track two where synths are used.
The title track then breaks away from this pattern, becoming more open and free, and unlike some of the other songs, it doesn't come across as relatively emotionless. A little more energy here and there would have been welcome. I had hoped that the talented Charlie Parker would provide some impetus with his track "Au Privave." And indeed, here the band pleasantly departs from the static funk rhythm. A driving bass, together with the lead singer, kicks off the song, in which the drummer then casually joins in. The bassist who started the song is then given space for a solo, which Gerald Cannon delivers with ease. Willie Jones III on drums also adds some highlights, but Susanne Alt herself holds back relatively much, even though this song in particular offered ample room and freedom.
... Ultimately, little remains of the original's fiery bebop spirit and passionate interpretation; I miss those vibrant emotions, especially in direct comparison. The cover on Dark Horse, by comparison, unfortunately sounds rather "academic" and fails to recreate that "cold shiver down your spine."
The next song returns to the funk formula. "Maple Jam" showcases the most feeling in its interpretation of the previously funk-oriented sound! Here, I can sense the atmosphere of fusion musicians like those once created by David Sanborn & Co. When "Kalunga Dance" begins, the band reveals a more relaxed approach, approaching the music with a decidedly more jazz feel and bringing a great deal of infectious energy.
The album concludes with "Jonesin," a more subdued track with a gentler rhythm and a subtle funk influence. The protagonist proves to be a highly skilled musician, but I think a bit more intensity in the playing of the various saxophones would have suited the music well; as it is, it remains largely good entertainment of a high standard, but looking beyond the obvious would certainly have done the production good, given the skilled musicians.
