| Jazz |
European jazz often draws its roots from the realm of classical music, as is evident here. This album situates itself in an aesthetic that bridges Ravel and Debussy, filling your mind with vivid imagery from the very first track. From there, it unfolds with one surprise after another. Whether it’s Johanna Summer or Jakob Manz, these two artists—already long-standing luminaries of the ACT label—demonstrate their brilliance in Cameo. The album effortlessly ventures into almost rock-like territories with dense musical textures, yet maintains its finesse. You’ll need to wait until the third track to encounter distinct jazz intentions, but it hardly matters—the sheer pleasure of listening is undeniable. Let’s face it: with musicians as extraordinary as these, even the unexpected becomes palatable, delivered with a grace that surpasses us all.
The strength of this duo lies in the unparalleled quality of its musicianship, excelling equally in composition, arrangement, and performance. This is a crucial point to highlight, as interpretation often lags in other artists. Johanna’s journey began with the piano at the age of seven, which perhaps explains why her synergy with Jakob Manz feels so natural. Together, they craft a profound lyrical exchange where every note is carefully weighed and placed with precision, creating a dialogue that resonates with exquisite harmony.
Here, we find ourselves enchanted by the album’s many proposals, each more surprising than the last. Johanna has long sought to intertwine classical music with jazz. As a listener, it’s best to approach this work holistically, as one would a theatrical production. This music demands cultural awareness and familiarity with both musical traditions to be fully appreciated. But regardless of one’s background, Cameo stands as a monumental album, offering across its 11 tracks a glimpse into the magic this fantastic duo brings to their live performances.
Jakob Manz is another remarkable young musician whose wide-ranging inspirations are palpable throughout the album. His influences span classical, rock, jazz, and world music, even veering into free jazz at times. This versatility is heightened by Johanna Summer’s ability to seamlessly weave in and soften some of his saxophone’s most extreme sounds, ending phrases with a gentleness reminiscent of a tropical beach at sunset.
The year 2025 promises even greater discoveries, whether from Germany’s ACT label or its American counterparts. Jazz, in its many forms, continues to amaze with its diversity and innovation. By certain measures, Jakob Manz could even be likened to Wadada Leo Smith—different cultural contexts, but a shared musical vision that challenges conventions and cuts to the essence of art.
This album inevitably joins the ranks of our “Indispensables.” We warmly recommend it to anyone for whom the word culture holds profound meaning.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, December 19th 2024
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