Hey there! The following is an attempt at voicing some thoughts I had for some good amount of time, this is the “first part”, of whatever is deemed to follow it.

Without complicating matters further: These thoughts are inspired by a recently published book: 3 Shades of Blue by James Kaplan. The other part? Insights (if you’ll allow me to arrogantly call them so) that I’ve gathered through the years of being a practicing jazz musician. Let’s begin our small investigation with a quote from the introduction of the mentioned book: “I confess that in the genres of bebop and hard bop, jazz created in the quarter century between, roughly 1942 and 1967, I find almost all of the jazz that I want and need.” I get him, you know. The commercially successful Kind of Blue and My Favorite Things emitted a timeless beauty, a diamond-like durability. They were the reason I got interested in jazz music from a purely artistic and deep viewpoint. I saw some gold there, something precious, and I knew I would want to pursue this—but I had no idea how to (before the Neukölln StuVo times). I would even say some religious feelings (alongside my very steady meditative practices) were invoked, maybe with an idea the famous Dostoyevsky quote points to best: “Beauty will save the world” (spoken by Prince Myshkin in his novel The Idiot). Though we rightfully have to ask ourselves why it must be “The Idiot” who makes the uttering (whoever read the novel has a gut feeling why).
So with this little introduction as a kickoff, let us jump right into the matter. And maybe, just maybe, along the way we’ll answer the strange and impossible question: What is this jazz?

To use anything outside of the body (and your limbs, too, for that matter), you have to experience it as an extension of yourself. It doesn’t matter if we’re talking about motor sport or tennis, about crafts like pottery or welding, or playing an instrument like the trumpet. This is just how we do things. At least if we do them good.
Now, brain scans have shown that classically trained musicians have very different brains from jazz musicians. The areas responsible for novelty are very well strengthened in jazz heads—like neural gym rats who’ve been hitting the improv treadmill for years. You’ve probably heard improvisation being called “instant composing.” Now that’s making a lot of sense. It’s also good to know that the disappearance of improvisation within the realm of classical music is a relatively novel occurrence. We’ve heard of the great improvisatory skills of Bach, Mozart, or Beethoven. We (maybe) have heard of the further and further through-composing of cadences in classical pieces. Until eventually, everything was written down. So why that is the case? I don’t know—we’d have to talk to a classical musician. But in jazz? That spark of the unknown? It’s the lifeblood. It’s what turns notes into stories, breaths into battles, and silence into revelation.

(end of part 1)

Above you can see the space the GIRI-Team created for the event. Thanks to the Team, and thanks to the very attentive audience.

Album of the Week

Alejandro Muhech – Edurne

Alejandro teamed up with Oliver Fox and a splendid rhythm section consisting of Enrique Luna and Aron Weise. The guitarists wide range of influence, stepping into the legacy of the great jazz masters, produced a recording of spectacular quality and appeal. Favourite track: Edurne.

You can listen to Alejandro and my conversation soon in the first Episode of the Connection 44 Podcast!

See you soon,

Fabio

Concert Announcements

I am more than happy that the second edition of “Pastards” is going down on the 10th of September. Thanks to the great GIRI-Team and my hard working bandmates, as well as Lilah Amar, we will have a splendid night of awesome food & drinks plus our music, presenting old and new grooves.

Here is the lineup:

6-8pm DJ Allynx

8-10pm The 4th Encounter

Fabian Fischer // dr

Alejandro Muhech // git

Franzi Aller // bass

Fabio Radermacher // trp

Reserve tickets here: https://ra.co/events/2243700

Also, the ValentinsPoint-Series is growing, find us every Tuesday on Donausstraße 112, this time featuring Manu Husseini, Franzi Aller and Alejandro Muhech.

Just some thoughts

I find writing (just writing without an objective) one of the most useful ways to speed up my thought. Instead of circling around an issues, I begin to dig deeper into it. Even if there is no obvious solution, I might get a hint. Also it is the best way to harness useful thoughts. The ones which are applicable. This is something, among other things, I learned to do while being in the train.

Also on my train ride I read a great novel of Hans Fallada, “Wolfs among Wolfs”. I have seldom found a novel so full of life, so vivid, and so diverse in its scenes. It is during the peak of inflation that one of the rather many protagonists, Wolfgang Pagel is trying to make his luck in a post-first-world-war Germany. Our Emotions many times do not make much sense, and so our decision making. And Fallada is masterfully revealing to us the innocent origin of each characters hidden motives. Thus the novel is also a plea for forgiveness. 

That reminds me of a story I read in a book from Marie Louise von Franz. It goes something like this: Somewhere in Switzerland, in a small village, there was a peculiar man: He was a “neurotic” stealer. He could not stop himself from stealing this or that from the neighbours. But nobody said a thing. Because they knew that always the day after his wife would bring the two or three little things he had stolen before back. That means at a certain closeness of relation, even major errors in personality are made up for by the community. It is by such manners that we can judge the healthiness of a society.

Charlie Parker at the Three Deuces

Just because not everybody might know this recording: Benedetti recorded Charlie Parker at what some people considered the peak of his genius: the residencies at the Three Duces and the Onyx Club. I highly recommend to check it out (The Complete Benedetti Recordings of Charlie Parker). He recorded him originally because he wanted to transcribe him. (https://youtu.be/eJY4DfM1B50?si=nBvalKBxvEITHS_E)

Have a great week and see you, online or in all livelihood. 

Fabio

For the 10th “(Breaking) Valentin’s Point” Edition, I am excited to announce the following lineup:

Mason Davis // Dr

Tino Ribeiro // Bass

Augusto Sinesi // Guit

Fabio Radermacher // Trp

Augusto’s and my compositions will be presented, along side some selected standards on 26.08.25. I’m thrilled to have Ilgar Gökhan on board to record this live concert.

Also, this Saturday, on the 30th of August, you will be able to attend this concert:

The rose’s thorns aim at the four cardinal directions. The band with its four different instruments, four different sounds, four different attitudes, four different minds are arranged according to these: the thorns remind us to hold the rhythm tight, to respect the harmony, to neither play too loud nor to quiet and to have each instrument have its space for improvisation and expression.

Mason Davis // Dr

Rafael Muleh // Bass

Alejandro Muhech // Git

Fabio Radermacher // Trp

Saturday, 30th of August from 7:30pm at Valentin’s Stüberl, Donaustraße 112, 12043 Berlin.

Albums of the Week (vintage edition)

Shakti – A Handful of Beauty (with John McLaughlin)

A consciousness altering listening experience. 

Joe Henderson – Lush Life – The Music of Billy Strayhorn

The sheer lineup serves to account for the classic status this album rightfully has.

Donald Byrd – A New Perspective

Donald’s rich religious scope, the quire, the blues. This album has depth and beauty. 

Catch ya somewhere, at a concert or online.

Fabio

Concert Series Announcement

I am very pleased to say that last years “BreakingPoint” Series is going into the next round (I am listening to Coltrane’s Ballad-Album on the old hifi-system of my grandfather while I write this). “ValentinsPoint” will take place every Tuesday from 7pm at Valentins-Stüberl on Donaustraße 112. It will feature local artists with occasional special guests. The Bar is perfectly set in busy Donaustraße and has a cosy, little bit vibe. There is a small stage at the back with a larger room and a bar at the front. 

The concert series purpose is especially to have the artists play their own music. Of all the things I have heard I found it particularly captivating to players and listeners alike to pursue new grounds, based on the history of music we have access to. Also, of all listeners, I found lovers to be the most attentive to the music. It is as if when our heart is full, it opens up even more so to the emotionality of it all. In so far this will also be an event to foster emotional sensitivity.

Podcast Preparations

The Subtitle “A Connection44 Concert Series” emphasises that we are a team of people. (I am changing CDs to Charles Mingus – “Blues and Roots”). We are all somehow magically drawn to Neukölln (44 is Neukölln’s old post office number) and its pulse. It is also the title of our New Podcast Project. We are almost ready to go, and I can’t wait to have my first guest (who is to be announced, we are building anticipation) on the show.

Screening

Also, next week, the 28th of August we will have an extremely special screening. Kazumi Sakamoto created a symbolic and deep movie about romance and tragedy, beautifully and symbolically accurately presented. It will be my honour to deliver a trumpet / acting performance right before the movie on stage. 

Right now (I am writing these particular lines in the train), I am listening to the first of the three Albums of the Week and it is a pleasure for me to introduce to you:

Albums of the Week

Quique Sinesi & Astrud Motura – La Magia

In keeping with its title, this album is poetic, virtuosic and has an other-worldly charm to it. 

Vincent Meissner Trio – Eigengrau

The three young prodigies delivered an intricate musical whole. Henri Reichmann’s drive, Vincent Meissners virtuosity that comes with ease and Josef Zeimetz engaged playing makes this one versatile, complex and very delicate.

Theo Croker – Dream Manifest

An intimate look into the Trumpeter’s musical Mind, blending soulful improvisation with cinematic textures that evoke a dreamlike journey.

At some point I will have to change my approach from Album-Presentation to actual musical critique. Maybe that’s what’s smelling bad about contemporary Music-Journalism: There is only praising. Everyone is playing marvellous, always. Is it not uncommon for someone to fulfil the expected excellency? Did someone put a conceptual boundary somewhere and did not reach far enough above? If yes, why did I not hear about it? These accusations still remain in the subconscious of a whole scene, and unacknowledged shortcomings emerge indirectly anyway. It is like the lake bird that dives for some fish and when resurfacing has a different position. What now looks like gossip or tittle-tattle, treacherous accusations and ignorance was maybe unvoiced critique before. Thus we are truly post-modern: no one is able to say if this or that is top notch, for there are too many possible perspectives to define exceptional works of art, although each of us has a natural feeling for it.

A problem I would like to tackle with my concert series. Each of us somewhere has to live up to the standard of musical prowess that has come before us. “Valentin’s Point” is both playground and vehicle for this purpose. So come around! Each Tuesday from 7pm.

Catch ya,

Fabio

Our first post-tour gig at Jazz After Dark Jam Session went well, partly because everyone got familiar with the music. Miles said sometimes that before going into the studio, he went on tour first with his band. There is a receptive ease in creating that you can access only through familiarity. The Session went until long after midnight. A percussionist, Adam Pawel, joined us and we happened to play quite a dancing-party-anthem.

I recently became more active on Instagram (not only to my brain’s delight) partially, to have a “marketing” platform. I always saw Instagram as a place for pictures, and I wonder if that is going to change.

Yesterday, in a conversation with my friend Maia Cruz, we had the idea to launch a new podcast format, in which we will interview musicians of the scene in a professional quality. Within hours, we set a date, place, and time for the first episode. I am very excited to have a dear friend of mine who will be releasing his first album at beginning of September, and who will play a tune or two live for us at the podcast. 

Also, I would like to introduce to you my new category “albums of the week” (I have a cheeky smile while I write that, because up until recently I could not have imagined to do such a thing), where I will present my three favourite albums of the week.

Fabia Mantwill – IN.SIGHT (2025)

Excellent production and playing meet the composer’s deep intuition and skill. From danceable “Whirl The Wheel” over a beautiful orchestrated string section on “Sleeping Giant” to the intricate “Fairy Glen”, this album is a delicious delight, also containing great solos from Kurt Rosenwinkel and Anat Cohen, too.

Searching for Home – Not your Face (upcoming, 2025)

The eleven-musician-strong band has an especially  refreshing and versatile take on their new EP. Lina Ida Wutzler’s vocals are outstanding. Wether you listen to tracks like “More Bubbles” or “No Sleeper” you can’t help but feel the funk.  All delivered with a well-thought-out and pointed brass section. 

Jazz Artists Guild – Newport Rebels (1961)

You would like to know how it is done? This album will teach you. A true classic. Among the All-Star Ensemble Roy Eldridge’s parts are especially captivating as a trumpeter (his range and style). Charles Mingus Bass delivers a drive on tracks like “Mysterious Blues” that is outstanding.

Catch ya next week,

Fabio

Yesterday I had the pleasure of joining the Sinesi-Family at “Donna-Bar” for two of Augusto’s Tracks. That was special to me, as I had never played with such an experienced and legendary guitar player like Quique is. It was a little more special of a gig than usual for a couple of more reasons: Firstly, Augusto and me have just come back from our tour and I wanted to see if and how we digested the experience. Secondly, I played by heart, without much of a rehearsal, so I had to listen a lot. And finally thirdly, it was a very intimate and quiet concert and I joined on my harmon mute, which makes things special, playing wise (intonation, airflow) and soundwise. 

Also today I would like to introduce you to my new field of work which will be called “44”. Without getting into too much detail, (I need to keep some secrecy for now) I will have the great opportunity to work with my colleagues and friends on a completive album. This album will feature Septett and Oktett recordings, vocal recordings and a huge variety of different influences.

While I write these lines on my train ride home, I listen to the popular music on bandcamp, in the jazz realm. I am thinking a lot lately about the implications that came with the advent of the digital age. Somehow it is always being said that everything is becoming more immediate and hectic on the market and I guess that is true – but I do not use TikTok. On the contrary, I feel like a movement to “slow” culture is occurring at every social level. Jazzclubs are being overrun throughout Germany. Vinyls are back, big time. Everywhere I go people are turning from “Jazz? I don’t like all that Jazz” to “what a beautiful art form this is”. I am not a scientist but correct me if I got this wrong. Everybody has their own view of the world.

And so I have a deep joy, appreciating the fact that I can access the fresh music from around the globe by a tip of my finger. And having the feeling that so much is happening and we are progressing as each individual solves a musical problem within their own soul. Somehow I have this very positive vision. 

Until next week,

Fabio

I am writing these lines while on the train – we play a little tour with two concerts. Yesterday, to kick things off we played at Atelier “Tallas de Luis”. My friends took pictures, we had fun playing music and so hopefully had the audience. We could, owing to the fact that we are all having a different background present a great variety of musical ideas. We presented modal jazz, ballads with complex harmony, some odd-meter funk. Old tunes and new ones. 

My goal with these concerts is to never stand still, to constantly work on new material and polish the old. It looks like, with this lineup, we will have the pleasure to open up the Jazz-After-Dark-Session in the “Neue Zukunft” at 06.08.25. Will we have new material until then? Maybe someone will write a new song during our tour.

(After the tour). We have had so much great food, two most pleasurable concerts, and who knows me knows that this has been a very meaningful trip for me. The band did grow together, we have been maiking lots of jokes with the band-members names (With Remaiklinghof, Radio Fabermacher and La Vie en Mason among the most popular. 

On my way back I am already thinking about the music of our upcoming concerts. When will I finish this composition, or what will we prepare for a Jam-Session Opener. 

A huge thank you to everyone who was involved!

A lot is going on, these days. The hearts are filled with excitement and joy during the Berlin summer. This time is no exception. On Wednesday, at Jako’s Jam “Neue Zukunft”, it was beautiful to see how everyone is progressing musically, and it was a joy to listen to. It is particularly, when the musician feels embedded within the music, yet relaxed enough to explore the possibilities of the moment that they play at their best. Of course its that well known “in the zone” feeling I am talking about. Jazz was always rooted well enough so that any intellectual take is instantly exposed as a low quality chat show. 

Today I am having the joy to be a listener and also player for a good friend of mine who is recording an album for his bachelor thesis. I am writing these lines as the instruments and microphones are being set up. 

The recording was splendid. Four different themes, four different improvisations. It it my first entirely “free” performance on an Album. It is the music, which answered the question of musical direction. Within the confines of a given “premise”, like “searching”, “finding” or plainly “free”. The musician is a listener himself, and as much as he or she knows about theory, we are all surprised what comes out of the horn, the strings or the reeds sometimes. At least that’s the Jazz I like – not talking about genres, yet.

The day before (same studio – Garden505) I had the pleasure on joining seven to eight musicians on an electronic Jam. I love how the stability of a drum and bass hi-hat, plus a stable bass drum sound in combination with a live-played Moog bass. Now I just need some hall (honestly, I never play with it, in electronic music the hall is a strong candidate to make the blending better. We are dealing with a complex problem here – we do not have a “real” drummer (the machine will never be a substitute for what my colleagues can pull off, I promise). That means we have a strong, a tightly stretched band which restricts us within our movement as a band, but it is exactly this tension that can make a groove juicy.

Above you can see what I sometimes like to do, because it is fun and it does connect me to the music, and stimulates my mind. You cannot see chords because it is a version of the sheet without them (but there are chords). This one is an introduction to a piece. It is very minimal, but it has valleys and mountains and because of that, it does work, indeed.

That’s it for my short little blog debut, keep riffi’n everybody!