Berlin Jazz: A Timeless Slice of German Bop and Modal Magic
Released in 1956, Berlin Jazz by RIAS Combo, Michael Naura Quartett, and Johannes Rediske is a gem from Germany’s post-war jazz scene. It’s not just an album; it’s a snapshot of a moment when jazz was finding its footing in Europe, blending American influences with local flair. The record, released on Brunswick, swings between bop and modal styles—two genres that might sound like they shouldn’t mix but somehow do here.
Let’s talk tracks. “Where Are You” kicks things off with a breezy vibe that feels like walking through Berlin in spring. Klaus Marmulla’s alto saxophone dances around the melody while Günter Schemmler’s piano lays down some understated yet sharp chords. There’s this one section where Marmulla lets loose—it’s not flashy, just confident and smooth. You can tell these musicians weren’t trying to outdo each other; they were playing for the joy of it. That kind of chemistry? Rare.
Then there’s “Studio 7,” which has this quirky, almost mischievous energy. Wolfgang Schlüter’s vibraphone adds a shimmering layer that feels both nostalgic and fresh. Paired with Michael Naura’s piano work, it creates this dreamy atmosphere that pulls you in. Drummer “Eminenz” Roberts deserves a shoutout too—he keeps things tight without hogging the spotlight. It’s the kind of track that makes you want to rewind and hit play again immediately.
What stands out about Berlin Jazz isn’t just the technical skill (though there’s plenty of that). It’s how effortlessly it captures the mood of its time. These guys weren’t chasing trends—they were making music that felt true to them. Sure, the recording quality shows its age, but honestly? That crackle and warmth make it feel more authentic.
Here’s the thing: listening to this album feels like eavesdropping on a private jam session. And maybe that’s why it sticks with you. By the end, you’re left wondering if the players knew just how special this session really was. Or maybe they didn’t care—they were too busy having fun. Either way, we’re lucky they pressed record.
Oh, and one last thought: doesn’t it say something that music made over half a century ago still sounds so alive? Go figure.
ROLF KÜHN & Die RIAS COMBO Studio 7 Deutsche BRUNSWICK 1956 Jazz Live
Images
Catalog Numbers
10 064 EPB
Labels
Brunswick
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Formats
Vinyl
7"
45 RPM
EP
Credits
Role
Credit
Alto Saxophone
Klaus Marmulla (tracks: B1)
Bass
Alexander Mackowiak (tracks: A), Hajo Lang (tracks: B1, B2)
Clarinet
Rolf Kühn (tracks: A)
Drums
Günter Hampel (tracks: A), "Eminenz" Roberts (tracks: B1, B2)
Guitar
Heinz Kramer (tracks: A), Johannes Rediske (tracks: B2)
Piano
Günter Schemmler (tracks: A), Michael Naura (tracks: B1)
Tenor Saxophone
Erhard Wenig (tracks: A)
Vibraphone
Wolfgang Schlüter (tracks: B1)
Barcodes
Rights Society: BIEM
About RIASCombo, Michael Naura Quartett, Johannes Rediske
Name Vars
RIAS-Combo
Interesting fact about Album
Here’s something cool: the album *Berlin Jazz* from 1956 is like a time capsule of German jazz talent. It features two distinct groups, the RIAS Combo and the Michael Naura Quartett, each bringing their own flavor to the record. One standout detail? The vibraphone player, Wolfgang Schlüter, only appears on one track, but his sound adds this shimmering texture that feels way ahead of its time. And get this—Günter Hampel, who played drums, went on to become a big name in avant-garde jazz. So, this album isn’t just music; it’s a glimpse into the roots of some legendary careers.
