ProStudioMasters.com

The Covid-19 crisis is not currently dealing with culture in a very careful way. For the second time, an emergency stop, which makes not a few of those affected even doubt their raison d'etre. The eternal discussion of relevance deals precisely with those who have classified themselves in the pigeonhole “Jazz”. On the other hand, Phillip Dornbusch's recipe is as simple as it is obvious: to make the world a little bit better. “I want to raise awareness of certain problems with my music,” the 26-year-old tenor saxophonist explained his chosen path. “For example, I wrote ‘Mourning’ when the ship “Sea Watch 3” was detained with many refugees onboard in Italy in July 2019. That moved me a lot, and the piece emerged from these feelings. When we play it live, I imagine the audience dealing with the story. And so I want to do my part to help things move in a different direction.” When Dornbusch plays, he doesn't necessarily do it according to the book. His maxims are: experiment, try things out and avoid repetitions if possible. “I concern myself far too little with theory. I prefer composing from my moods.” Fewer notes. Just let your feeling and form on the day flow. As a result, the same piece can regularly sound different in key, rhythm and harmonic variations. For this, open, flexible kindred spirits are needed, who also have an excellent command of their instrument. Therefore, it took much longer than just a few phone calls to put together “Projektor”, this young researcher quintet with the pianist Johanna Summer, the guitarist Johannes Mann, the bassist Roger Kintopf and the drummer Philip Dornbusch (who curiously is not related to the man on the tenor saxophone; the tiny difference lies in the “l” in the first name).