Retirement? A strange word for artists, for jazz musicians anyway. For economic reasons, but also otherwise, it is hardly compatible with the reality of life. The musicians can't just turn off their creativity and go fishing. Tony Lakatos, recently released from the HR big band, now appears more often with his quartet or, like a few days ago in Alicante, Spain, plays as a guest in the quartet of the Italian pianist Fabio Miano. Christof Lauer, who came back to Frankfurt three years ago from the NDR Big Band, can be seen regularly with his jazz meditations in the Alte Nikolaikirche. And Emil Mangelsdorff, the phenomenal Frankfurt veteran, undauntedly continued his legendary concert series in the Holzhausenschlösschen at the age of 96; There are now well over 200 appearances.

It fits into the picture that Christoph Spendel, who at the beginning of November was retired with all honors as professor of jazz piano, described his performance there as a “not the last curtain” concert. He has already demonstrated in the jazz cellars of Frankfurt and Hanau, as well as on a small tour, that he can be expected more and more in clubs in the region and far beyond. He recently released a new recording with his Christoph Spendel Group, with which he, as he announced, would like to open another chapter in his career. The newly formed quartet under the old name, however, includes musicians who have had a longstanding partnership with him. For example the former bassist of the HR big band Thomas Heidepriem or the drummer Martin Standke,who studied at the Frankfurt Music Academy when Spendel taught there and brought him into his band. The fourth in the group is the tenor saxophonist Peter Klohmann, who is now well connected in Frankfurt, who founded the “Junge Szene Frankfurt” and also attracted attention as a composer, for example recently with his orchestral work “Identigration” in the west-east sound exchange with the Bridges Chamber Orchestra at Fratopia -Festival in the Alte Oper.recently with his orchestral work “Identigration” in the west-east sound exchange with the Bridges Chamber Orchestra at the Fratopia Festival in the Alte Oper.recently with his orchestral work “Identigration” in the west-east sound exchange with the Bridges Chamber Orchestra at the Fratopia Festival in the Alte Oper.

Full of playfulness, without superficial profundity

"Avenue E" is the name of the CD released by Blue Flame Records. The title refers to the Eschersheimer Landstrasse in Frankfurt, address of the music academy, for a long time also the conservatory and the legendary concert hall in the former adult education center, where the first concerts of the German jazz festival took place in the 1950s. The bassist Stephan Schmolck spent his youth on this street, Albert Mangelsdorff lived right around the corner from the university, and Emil Mangelsdorff, a big fan of Mediterranean cuisine, went to his favorite Italian restaurant for many years, roughly where Heinestraße meets Eschersheimer. Reason enough, then, to pay homage to the street, which actually doesn't exude avenue character anywhere or seems somehow cool, for once.And the title track “Avenue E” sets the direction for the entire recording.

A few loosely arpeggiated piano chords, then the entry of the soprano saxophone by Peter Klohmann with a slightly catchy, repeated motif and the wonderfully swinging rhythm of Martin Standke, supported by the unobtrusive bass lines by Thomas Heidepriem, sometimes parallel to the melody: That works everything is easy, harmonious, full of enthusiasm for playing, without superimposed musical profundity, but always at the high level of professionally internalized mainstream jazz with a Latin touch. And so it continues with pieces like “Fuerteventura” and “Moreton Island”, “Canary Skies” and “Summer Samba”. Basically it is music of longing, inspired by a vacation Spendels on the Canary Islands 2019,But then during the rehearsals and the work in the studio, surprised by the adversity of the corona pandemic with the lockdown, which drastically reduces life.

Obviously, the four professionals did not let themselves be discouraged and produced a piece of music that strolls calmly, never sweats or whines about the events. You can feel the warmth of the south, the bright light of summer in these sounds. Often you forget all external circumstances, listen to the powerful tenor saxophone by Peter Klohmann, the straightforward dry bass playing by Thomas Heidepriem and the irresistible groove of Martin Standke's drums, with which he makes it easier to get up on any "Early Sunday Morning". The whole thing is dominated by the chord progressions, flowing melodies and sensually repeated motifs of the pianist Christoph Spendel. It's positive music. The cover also fits. The quartet poses in front of the Frankfurt skyline,dressed as if you were taking off for your summer vacation. Even if they are only standing on a traffic island in front of the Eschenheimer Tower - an inkling of the "Island in the Sun" can also be felt there.