Label: Sunnyside Records, 2023

Personnel - Tobias Meinhart: tenor and soprano saxophone; Kurt Rosenwinkel: electric guitar; Ludwig Hornung: piano; Tom Berkmann: bass; Mathias Ruppnig: drums.

The second installment of German saxophonist Tobias Meinhart’s Berlin People is titled Dark Horse and was recorded live at A-Trane jazz club, located in Germany’s trendy capital. The quintet bolstered its sound, tightening musical and friendship ties during the time spent on the road (they toured Europe and South America after the release of their first album). The group remains intact in its pieces, featuring the acclaimed guitarist Kurt Rosenwinkel, who establishes a strong connection with the saxophonist in most of the melodic themes. The group is rounded out by Ludwig Hornung on piano, Tom Berkmann on bass, and Mathias Ruppnig on drums. The latter two contribute one composition each to the tracklist.

Meinhart’s “Luna Park” opens empathically through a joyful thematic development that is a tribute to New York’s Coney Island. The unmistakable contemporary sound gains even more emphasis when Meinhart permeates the harmonic tapestry with a gripping tenor improvisation. Rosenwinkel follows him, projecting his blustering synth guitar with ruddy tones and inviting ideas. In turn, Hornung opts for a more thoughtful approach with plenty of rhythmic figures and chromatic slides.

The uptempo “Dark Horse” runs under a sextuple meter with punk rock-ish attitude and jazzistic expression around the edges. Its breathless galloping takes a rest before the closing statement. “Dreamers” is an older piece - a contrafact of the standard “You Stepped Out of a Dream” - that feels a bit extended here. In spite of that, we can indulge in Meinhart’s soprano sprints over the harmonic riches. There are swinging segments in its 4/4 motion that one can identify with “Berlin People”, which seems immersed in an authentic urban bustle. This fitting 15-minute closer was retrieved from the band’s debut album and extended from six to 15 minutes.

Contrasting with these swirling streams, we have Ruppnig’s tenderly outlined “Gift of Time”, and Meinhart’s “Sonic River”, a lyrically involving 7/4 cut introduced with grace and perspicuity by Rosenwinkel and brushed with balmy effulgence by the drummer.

Although not making the same great impression as The Painter (recorded with a completely different quintet), Dark Horse is nevertheless an agreeable album where the bandleader’s compositions stand out.

Favorite Tracks:
01 - Luna Park ► 08 - Sonic River ► 09 - Berlin People

Label: Sunnyside Records, 2019

Personnel - Tobias Meinhart: saxophone; Kurt Rosenwinkel: guitar; Ludwig Hornung: piano; Tom Berkmann: bass; Mathias Ruppnig: drums.

On his new outing, New York-based saxophonist Tobias Meinhart pays tribute to his German roots at the same time that shows an ardent passion for New York. In order to do that, he put together a group based in Berlin, whose lineup includes the illustrious American guitarist Kurt Rosenwinkel, now a mainstay of that European city’s music scene. With the guitarist functioning more like a featured soloist, the quintet presents a rhythm section composed of pianist Ludwig Hornung, bassist Tom Berkmann, and drummer Mathias Ruppnig.

The opener, “Mount Meru”, is highly expressive, promoting relaxation while progressing at a confident 6/8 tempo. Contributing an exciting solo, Rosenwinkel has a magnificent first intervention, showing full command of the guitar. His phrasing is bright and his sound dazzling. Meinhart succeeds him, drawing melodic paths that involve emotions, and a transitory chorus serves as a vehicle for percussive dilatations, anticipating the repositioning of the main theme.

The bandleader’s deep fondness of swing is shared on tunes like “It’s Not So Easy”, a current layout projected with the force of bop; “Berlin People”, a showcase for a hard-hitting saxophone; “Alfred”, which features a well-articulate piano solo and is dedicated to Meinhart’s late grandfather, a classically trained bassist; and “Serenity”, a Joe Henderson original, here suffused with blistering intensity and typically structured with theme / solos (sax, guitar, piano, bass) / four-bar trades with drummer / theme.

Hornung contributes “Fruher War Alles Besser”, a suave ballad where he echoes some of the melodies brought upfront by the bassist. However, it was another balladic effort that captivated me the most: Meinhart’s “Childhood”. Assembled with major triads and displaying a special affection for melody, the piece has Rosenwinkel finishing alone and in great style.

If “Malala” is an unhurried post-bop ride inspired by the Pakistani activist and Nobel Prize winner Malala Yousafzai, “Be Free” is nothing more than a short improvisation whose undercurrents I wished were further explored.

The tracks on Berlin People, despite compositionally strong, don’t reveal many shifts internally, living mostly from the power of the improvisations. However, the album marks a solid step in Meinhart’s evolution as a recording artist.

Favorite Tracks:
01 - Mount Meru ► 07 - Childhood ► 08 - Berlin People