As is the case with most European modern jazz musicians, Uli Beckerhoff has practically no name recognition among American listeners, despite the fact that his career stretches back over half a century and includes concert and festival appearances all over his native continent. He has worked with a virtual who’s-who of European jazzers, and a good many noted Americans (Charlie Mariano, John Scofield, Adam Nussbaum, eg), and it’s easy to see–or more accurately, hear–why. Start with Beckerhoff’s sound; he maintains the same clear, gorgeous tone effortlessly and evenly in all registers, and his articulation is so clean that his lines often flow like a reed player’s. Couple this with his sure-footed and very dramatic use of space and you have the perfect tools for a master storyteller. The fact that he also has a lot to say with these tools is what elevates Beckerhoff’s playing, which is often very effective, especially on the slower tunes.

For his frontline partner in this early ‘90s quintet, Beckerhoff chose tenor saxophonist Matthias Nadolny, whose liquid sound and very personal phrasing complement the trumpeter very nicely indeed. Nadolny is an arresting soloist whose tumbling lines spill out in all kinds of surprising directions, and his ears are as big as his fingers are nimble, as we hear on the exchanges and duo improvising with Beckerhoff on tracks like “Waltz for Pee Wee.” Nadolny’s list of credits is as impressive as the leader’s, and much the same can be said of pianist Michael Berger, bassist Gunnar Plümer and drummer Jo Thönes. But much more important to the success of this record than individual contributions is the way the players blend together, even when the arrangements call for them to follow divergent paths (“Tango Tragico”). By the time of these recordings, this quintet had been performing together regularly for two years, and it shows.

It’s worth noting that four different members of the group contributed original compositions to the program heard here, something Beckerhoff encouraged. There is considerable stylistic diversity in these pieces, reflecting mostly the post-modal approach that had become prevalent in the 1970s and ‘80s, with an added dollop of fusion and a nod towards the avant-garde. It seems strange that such an outstanding band was never invited to make a studio date, but the release of this live radio recording will fill that gap for devotees of these Deutsch masters very handsomely. It can also introduce American jazz fans to an outstanding trumpet voice that cries out to be heard.

Duck Baker
Reading, Berks
March 2025