NDR Bigband Al Jarreau vocals Joe Sample piano Special guest ...

Jazz & beyond / Luxembourg Festival 2012
Samedi / Samstag / Saturday
17.11.2012 20:00
Grand Auditorium
NDR Bigband
Al Jarreau vocals
Joe Sample piano
Special guest:
Nils Landgren trombone
Veuillez noter que les photos et enregistrements audio et/ou vidéo
sont strictement interdits pendant toute la durée de ce concert
Wir weisen darauf hin, dass Photo-, Video- und Audioaufnahmen
dieses Konzerts ausnahmslos verboten sind.
Please note that photos, video and audio recording are strictly
prohibited during this concert.

1 st part
NDR Bigband feat. Joe Sample
Joe Sample: Children of the Sun
(2011, arr. Jörg Achim Keller, extracts)
~50’
—
2 nd part
NDR Bigband feat. Al Jarreau
George Gershwin: Porgy and Bess (1935, extracts)
Compositions by Al Jarreau
~70’
Dans le cadre de Luxembourg Festival

Porgy and Bess in the Sun
Le NDR Bigband rencontre Joe Sample et Al Jarreau
Philippe Gonin
Il est une chose indéniable: seul le jazz sait mettre en œuvre des
collaborations artistiques qui, souvent, sont le fruit d’amitiés
fortes. Se forgent ainsi, d’un projet à l’autre, de véritables familles,
où les mêmes musiciens deviennent tour à tour leader ou side-
men, producteurs ou commanditaires. Ces amitiés tournent par-
fois autour d’un ensemble ou d’un artiste dont l’aura agit comme
un véritable catalyseur. Ce catalyseur, ce soir, existe; son ombre
portée va planer au-dessus d’une bonne partie de ce concert et
cet homme, c’est Nils Landgren.
Le tout nouveau directeur du festival Jazz Baltica n’est en effet
pas innocent dans ce projet réunissant le NDR Bigband et Joe
Sample. On connaît l’attirance de l’ensemble pour les collabora-
tions et on a pu le voir accompagné de Quincy Jones, Steffano
Bollani ou João Bosco. L’on vit même Landgren aux côtés de
l’ensemble lors du Jazz Baltica 2007 réunissant le NDR et le bat-
teur Wolfgang Haffner – par ailleurs batteur du Funk Unit dirigé
par le tromboniste (voir le «Licence to Funk» de 2007) - autour
du projet Nordic Shapes. Le Funk Unit joua avec le Big Band en
2010 dans ce même Festival, tandis que Landgren se produisait
récemment encore avec l’ensemble lors de la création du projet
«saveurs chinoises» mêlant instrument traditionnel chinois – Ma
Xiaohui jouant de l’erhu, vielle chinoise à deux cordes – et en-
semble jazz.
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photo: Steven Haberland
Nils Landgren
Amitié fructueuse donc que l’on retrouve entre Joe Sample et
le tromboniste. L’ex leader des Crusaders (ceux-là même qui, au
milieu des années 1970 connurent les sommets des charts avec
un Street Life auquel Randy Crawford prêta sa voix et dont Taran-
tino se servit dans son «Jackie Brown») et Landgren se connaissent
en fait depuis près de vingt ans: depuis cette séance studio des
Crusaders à Los Angeles dans laquelle l’homme au trombone
rouge s’est retrouvé presque par hasard avant d’accompagner la
formation de Sample – Randy Crawford se trouvait également
là – pour un concert à Santa Barbara. En 2003, Sample invita
Landgren à suivre les Crusaders reformés pour une tournée au
Japon. C’est presque naturellement que les deux hommes enregistrèrent
en 2006 un bel album (paru chez ACT), «Creole Love
Call», enregistré à la Nouvelle Orléans et auquel participèrent une
pléiade d’invités, presque tous musiciens de la Nouvelle Orléans,

à la seule exception peut-être de Ray Parker Jr, venu du monde
de la pop – il fut l’interprète de la chanson titre du film Ghostbusters
au milieu des années 1980. On peut retenir entre autres une sym-
pathique version de «Sittin’ on the dock of Bay» ou «Nightlife» ainsi
que les titres aux sonorités plus typiquement New Orleans qui
clôturent l’album (dont le titre éponyme signé Ellington). L’album
était déjà produit par Landgren.
Pour couronner le tout, le dernier album studio en date du trom-
boniste («The Moon, The Stars and You», ACT 2011) fait appel
en sideman à… Joe Sample (Joe’s Moonblues) et Steve Gadd. Le
NDR participe à la fête sur un titre (The Moon’s A Harsh Mistress,
l’ensemble étant dirigé par Wolf Kerschack) et l’on remarque la
présence dans Holojotes du brésilien João Bosco qui se produisit
avec le NDR au Jazz Baltica 2011 (des extraits de cette prestation
sont visibles sur youtube.). La boucle est ainsi bouclée.
«Children of the Sun»:
un concept autour de l’esclavage et de la liberté.
C’est Landgren qui incita le NDR à travailler avec Joe Sample sur
ce concept que le pianiste avait en tête depuis près de vingt ans
et dont on entendra ce soir de larges extraits. Si nous ne savons
pas, à l’heure où nous écrivons, lesquels des onze titres qui com-
posent cette œuvre seront joués, l’auditeur pourra le cas échéant
se rendre compte de ce que donne l’œuvre dans son entier en se
rendant sur youtube où l’on peut voir – en bonne qualité image
et son – l’intégralité de la première mondiale filmée il y a plus
d’un an maintenant au festival Jazz Baltica. Le tromboniste y ap-
paraissait en guest star.
«Children of The Sun» est donc un projet ambitieux qui connut
une lente maturation. On trouve en effet trace de celui-ci dès
1994 puisque dans un article publié sur le net daté du 2 décembre
1994, le pianiste annonce que le thème de son prochain
album évoquera ses «impressions sur les émotions engendrées
par l’esclavage et la liberté et sera appelé ‹Children of The Sun›».
L’inspiration lui est venue lors de son passage aux Îles Vierges –
plus précisément à Sainte-Croix – pour un festival de jazz… Au
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milieu des plantations de cannes à sucre et des ruines d’anciennes
distilleries – l’île est réputée pour son rhum et cette tradition per-
dure aujourd’hui encore – lui est venue l’idée d’évoquer ces es-
claves, travaillant la canne à sucre, prisonniers d’une île entourée
par l’océan … Sur le site du big band, Joe Sample explique encore:
« Pendant des siècles, les colonialistes européens se sont livré des
batailles autour de ces îles» (découverte par Christophe Colomb
qui appela l’île «Santa Cruz», elle fut successivement une posses-
sion hollandaise, anglaise, espagnole, française, danoise et enfin
américaine). «Les esclaves, poursuit le pianiste, étaient considérés
comme des animaux […]. Les Français les appelaient ‹Créoles›,
les Portugais et les Espagnols ‹Crillo› […] Je crois, ces gens se
sont imaginés les ailes avec lesquelles leurs enfants pourraient
voler vers la liberté.» «Joe connaît très bien les histoires du temps
des esclaves et sait comment on peut les raconter en musique»,
explique Landgren. «Il peint simplement des images de sa vie,
comme Noir, comme Créole mais aussi comme la personne fan-
tastique qu’il est.»
Musicalement, «Children of The Sun», paré des arrangements or-
chestraux de Jörg Achim Keller, a des couleurs funky et même un
brin latino, rappelant les années 1970 et les grandes années des
Crusaders ou des films américains de cette glorieuse époque. Land-
gren est d’ailleurs fier de son ‹coup›, déclarant: «Les deux musi-
ciens (Sample et Keller) ont merveilleusement collaboré» et sou-
lignant la richesse orchestrale des timbres et le ‹groove› de cette
musique.
Un album doit bientôt voir le jour. Landgren, sur son site, annonce
qu’il en est également le producteur. On pourra entendre notam-
ment Steve Gadd à la batterie et les arrangements sont signés…
Jorg Achim Keller, actuel leader du NDR Bigband.
Une rencontre, deux stars, un même combat.
Ce n’est pas Landgren qui est au centre de la rencontre entre le
NDR Bigband et Al Jarreau mais George Gershwin. C’est en effet
autour de la figure emblématique du compositeur de Rhapsody
in Blue que se sont réunis pour la première fois l’ensemble et le

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George Gershwin, vers 1930
chanteur. Non que ce dernier n’ait pas déjà abordé l’histoire de
Porgy and Bess puisque l’on peut déjà entendre sur ce très bel album
de 1994 – qui comporte quelques autres belles reprises de thèmes
connus (tels que My Favorite Things ou Mas Que Nada), mêlées
à son propre répertoire ou des reprises ‹pop› – Your Song d’Elton
John et She’s Leaving Home des Beatles – une version funky de
Summertime, sortant de l’habituel arrangement de type ballade. Il
faut noter que si Al Jarreau et Joe Sample n’ont pas été aussi fré-
quemment réunis que le pianiste le fut avec Landgren, c’est bien
l’ex-leader des Crusaders que l’on retrouve aux crédits de ce «Ten-
derness» ainsi que Steve Gadd et Marcus Miller dont la route avait
déjà croisé celle de Joe Sample sur l’un des derniers albums de
Miles Davis, «Amandla».
En 1998, année marquant le centenaire de la naissance de Gershwin
(1898–1937), le NDR Bigband proposait, déjà avec Al Jarreau,
une nouvelle version du chef d’œuvre du compositeur américain

éarrangé par le pianiste anglais Steve Gray – qui travailla avec
le NDR dès 1991, Gray est prématurément décédé en 2008. Neuf
années plus tard, le 27 novembre 2007, c’était au tour du Palais
des Congrès de Paris d’accueillir en première européenne un spec-
tacle intitulé «Porgy & Bess project & Favorite Songs», spectacle
conçu par Al Jarreau, accompagné par le NDR Bigband (on peut
en voir un bref extrait sur youtube, de qualité moyenne puisque
filmé depuis le public, avec cet autre titre majeur de l’opéra: It
Ain’t Necessarily So). A l’issue de la représentation parisienne de
2007, Jarreau déclarait: «Ma principale contribution à la musique
aura été d’introduire la rythmique dans le registre vocal.» Cela
est vrai, mais il reste aussi l’un des interprètes les plus sensibles
qui soit et sa voix, alors qu’il est âgé aujourd’hui de 72 ans, est
toujours aussi présente et captivante.
Une soirée de groove et d’émotion…
On ne peut que saluer la cohérence d’un tel programme, réunissant
non seulement deux figures charismatiques sur une même scène
mais aussi deux œuvres qui toutes deux traitent d’un même sujet.
«Certains livres ont le pouvoir de changer le monde, était-il écrit
sur le flyer du concert parisien de 2007. Lorsque George Gershwin
posa la main sur la nouvelle Porgy, il en fut fasciné dès la première
page. La même nuit, il écrivit une lettre à l’auteur, comprenant
des plans pour un opéra. La première représentation de Porgy and
Bess neuf ans plus tard à New York créa un véritable scandale:
tous les rôles étaient joués et chantés par des personnes de couleur.»
Depuis, si l’opéra a gagné ses galons et est sans doute l’une des
toutes meilleures œuvres du répertoire américain du 20 e siècle,
ce qu’elle dénonce hélas est toujours d’actualité. Les leçons de
l’Histoire étant insuffisantes, il est bon que l’art, la musique, don-
nent l’opportunité de se souvenir de certaines choses. Surtout
quand, en sus, Joe Sample nous offre avec «Children of The Sun»
l’une de ses toutes meilleures œuvres. Le concert de ce soir, réu-
nissant sur scène deux stars avec l’une des toutes meilleures for-
mations du genre, donnera à coup sûr naissance à de vraies émo-
tions musicales.
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Großes Kino
Joe Sample, Al Jarreau & NDR Bigband
Ralf Dombrowski
In Sachen Big Band hat Deutschland einen Joker im Ärmel. Denn
durch die föderale Struktur des Rundfunkwesens, die jedem Bun-
desland eigene Radioanstalten zubilligt, hat sich über die Jahr-
zehnte die komfortable Situation ergeben, dass sich vier Sender
eigene Jazzorchester leisten. Eines davon ist die Bigband des Nord-
deutschen Rundfunks (NDR), deren Wurzeln bis zu dem unmittel-
bar nach dem Zweiten Weltkrieg im Mai 1945 gegründeten Radio-
Tanzorchester Hamburg zurückreichen. Zunächst als Unterhaltungs-
ensemble gedacht, entwickelte das Orchester von 1948 an unter
der Leitung des Kölners Franz Thon ein eigenes Profil, das neben
dem Schwofen auch ein wenig Jazz ins Programm brachte. Seit
den 1960er Jahren mehrten sich solche Projekte, die zuweilen
unter dem Signum «NDR-Studioband» firmierten. Im darauffol-
genden Jahrzehnt schließlich wurde aus dem Tanzorchester unter
dem Einfluss von Redakteuren wie Wolfgang Kunert eine echte
Bigband. Als dann 1980 der vormalige Pianist des Ensembles
Dieter Glawischnig die Leitung übernahm, waren die Weichen
in Richtung jazzende Eigenständigkeit gestellt, eingeleitet und
verdeutlicht durch den Auftritt 1982 beim Jazzfest Berlin zusam-
men mit Gastsolist Benny Wallace. Seitdem hat die NDR Bigband
zahlreiche Projekte mit Gästen wie Carla Bley, Colin Towns,
Michael Gibbs, George Gruntz, João Bosco oder unlängst erst
Quincy Jones verwirklicht, die das internationale Renommee
des seit 2008 von Jörg Achim Keller geleiteten Klangkörpers souve-
rän gemehrt haben.

Joe Sample
Joe Sample
Es gehört zum Konzept der NDR Bigband, dass das Ensemble
nicht nur in Hamburg seine Programme vorstellt, sondern sich
mit den Gästen und Solisten auch gemeinsam auf den Weg macht.
Diesmal sind zwei Star des amerikanischen Jazz mit im Boot, die
sehr unterschiedliche Ideen an das Orchester herantragen: der
Pianist Joe Sample und der Sänger Al Jarreau. Joe Sample ist einer
der Musiker des Jazz, der im Hintergrund der großen Namen
sich seinen eigenen Kosmos geschaffen hat. Bekannt wurde der
inzwischen 73-jährige Pianist und Komponist aus Houston (Texas)
durch die Jazz Crusaders, eine Band, mit der er zwischen 1961
und 1993 insgesamt 53 Alben veröffentlichte und die es 1979 mit
«Street Life» und Sängerin Randy Crawford sogar an die Spitze
der Hitparaden schaffte.
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Groß geworden im Umfeld der kreolischen Kultur, des frühen
Jazz und Rhythm & Blues, gehörten Blues und Gospel von Anfang
an zu Joe Samples Einflüssen, später gefolgt von Soul, Rockjazz,
Fusion und zahlreichen Pop-Elementen, die er als Studiomusiker
im Line-up von Diana Ross, den Jackson Five, Marvin Gaye oder
auch Steely Dan einsetzte. Er gilt als Koryphäe des elektrischen
Fender Rhodes und hat erst vor wenigen Jahren die Big Band als
Klangkörper für sich entdeckt. «Schon als junger Klavierschüler mit
sechs Jahren habe ich davon geträumt, dass es irgendwo eine Welt voll
wunderbarer Klaviere geben muss, die ich dann spielen würde, wenn ich
einmal ein gewisses Stadium der Professionalität erreicht habe. Dann
musste ich aber feststellen, dass das schlechteste Leben als Musiker eigent-
lich das des Pianisten ist, der sich mit jeder Krücke zufrieden geben muss,
die er am Ende des Tages vorfindet. Ich war ja schon froh, als das Fender
Rhodes erfunden wurde. Aber Big Band, das ist noch einmal eine ganz
eigene Stimme. Sie bringt die Kraft der Orchestrierung, die das Klavier
hat, in die Welt der Instrumente, und ich habe mich sofort in diese Kraft
verliebt.»
Im Jahr 2008 nun fragte der Posaunist Nils Landgren, der als künst-
lerischer Berater der NDR Bigband fungiert, seinen alten Freund
Sample, ob er ein Programm für das Orchester gestalten wolle.
Das war die Chance für das Projekt «Children Of The Sun» als
Widmung an die Menschen der Jungferninseln, das bereits seit
mehr als einem Jahrzehnt in der Schublade auf die passende Be-
setzung wartete: «Ich wollte keine typische Big-Band-Musik schreiben.
Davon hat die Welt genug, da muss ich nichts mehr hinzufügen. Nils
Landgren meinte, das wolle er auch gar nicht. Ich solle meine Musik schrei-
ben und die Big Band würde sie dann spielen. Da war mit klar, dass ich
nun die Möglichkeit hatte, das Konzept von ‹Children Of The Sun› wirk-
lich durchzuführen und im großen Rahmen zu erforschen. Ich wusste,
dass ich die perfekte Situation hatte: Eine hochprofessionelle, durchorgani-
sierte Big Band mit Musikern, die sich kennen, miteinander fühlen.»
Al Jarreau
Das Resultat dieser Zusammenarbeit ist vor Kurzem als eigenes
Album erschienen. Es wird eine der Grundlagen des Konzerts
sein, das aber durch den zweiten Stargast noch in viele andere

Al Jarreau
Richtungen weist. Denn neben Tastenmeister Joe Sample ist Al
Jarreau mit auf Tournee, der stilistisch folgenreichste Sänger der
vergangenen Jahrzehnte, dessen Karriere zunächst aber nur zöger-
lich Gestalt annahm. Geboren wurde Al Jarreau im März 1940 in
Milwaukee (Wisconsin), weitab von den amerikanischen Zentren
der Musik. Der Vater war Pfarrer, die Mutter Pianistin. Und der
kleine Al trällerte ganz ordentlich vor sich hin, sang in Vocal
Groups im Stil von Lambert, Hendricks & Ross, traute sich aber
den Sprung in die Musikerkarriere nicht zu.
Also studierte Al Jarreau Psychologie, arbeitete als Rehabilitations-
helfer, jammte gelegentlich mit George Duke und blieb ansonsten
weitgehend erfolglos, bis sich Mitte der 1970er Jahre der allgemeine
Geschmack des Publikums änderte. Al Jarreaus bis dahin unüb-
liche Symbiose aus Soulgesang, Funkyness, Improvisation und
Entertainment kam plötzlich an. Charakteristisch war das nasale
Timbre seiner Stimme, verbunden mit großer Kraft auch in hohen
Lagen. Jarreau erweiterte den wortlosen Scatgesang um Nebenge-
räusche der Stimme wie Atmen, um raues Krächzen und Mund-
Percussion, konnte aber ebenso makellos artikulieren. Das war
der Souljazz-Sound der Stunde, mit «Glow» (1976) in einem
Meisterwerk verewigt, dann zunehmend mit Studioästhetik kan-
diert bis hin zu seinem erfolgreichsten Album «Breakin’ Away»
(1981).
Seitdem ist Al Jarreau tonangebend in der internationalen vokalen
Jazzwelt, neben Bobby McFerrin die Autorität in großen Hallen.
Und auch er hat eben erst eine Orchesterplatte veröffentlicht, die
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live zusammen mit dem holländischen Metropole Orkest unter
der Leitung von Vince Mendoza aufgenommen wurde. Es sind
viele bekannte Stücke seines Repertoires in ungewöhnlichem
Klanggewand zu hören und das ist eine der weiteren Säulen, wo-
rauf das gemeinsame Programm mit Joe Sample und der NDR
Bigband aufbauen kann. Gemäß seinem Credo, «dass man bereits
existierende Musik neu erfinden, neu beleben und restaurieren
kann und sie vollkommen zeitgenössisch klingen kann» (Al Jarreau),
wird er auch in dieser Besetzung sich musikalisch nur wenig vorschreiben
lassen. Das Repertoire hat er über die Jahrzehnte hin-
weg verinnerlich, die Freiheit in der Gestaltung aber nie verloren.
Und so stehen die Chancen gut, dass Al Jarreau gemeinsam mit
einem der soulig lässigsten Pianisten und einem der besten Jazzorchester
dieser Tage zur Hochform aufläuft.
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Interprètes
Biographies
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
NDR Bigband
Hunter in the morning, shepherd at noontime, critic of an eve-
ning. Elegant swing yesterday, elastic Latin beats today, genuine
bebob tomorrow, and the following day a programme that is so
individual it can only be associated with the NDR Bigband, a
jazz band made up of self-assured soloists and proud not to be
dependent on the glamour of guest stars. Yet, as numerous
meetings with such artists as Chet Baker, Abdullah Ibrahim, Al
Jarreau, Carla Bley, Bobby McFerrin, João Bosco, Omar Sosa and
recently with Joe Sample clearly demonstrate, the band shuns
neither glamour nor international guest stars. Nevertheless, de-
spite all these meetings and their cultivation of the traditional
bigband repertoire within the context of their busy concert sched-
ule within the NDR’s transmission area, consistent work on
their own sound remains their core area of competence and
constitutes what makes the NDR Bigband uniquely attractive –
precisely what editor Wolfgang Kunert and long-standing leader
Dieter Glawischnig had in mind some thirtyfive years ago when
they set about redefining the function of this band. As a conse-
quence, the NDR Bigband has gained a reputation as one of jazz’s
foremost bigbands on both sides of the Atlantic, a winning con-
cept that has been faithfully pursued for the last three years
under the artistic direction of Jörg Achim Keller. Just as unmistak-
ably as Keller, who, born in Zurich in 1966, was writing arrange-
ments for the NDR Bigband at the tender age of 20, represents
a younger generation of bandleaders, so clearly, too, is the un-
changing three-part structure of the band’s repertoire. The first

NDR Bigband
part consists in preserving jazz’s century-old tradition, the second
in exciting meetings with such stars as Bobby McFerrin, Maria
Schneider or Rolf Kühn, and the third in honing their own profile
by performing compositions either by members of the band or
ones written by the bandleader. This top-rank Hamburg jazz en-
semble offers its soaring flights of musical artistry in programmes
tailor-made for the soloists in the band by arrangers such as the
late Steve Gray, fellow Briton Colin Towns or Michael Gibbs. And
this is where the NDR Bigband comes into its own, versed, as
it is, in each and every stylistic register, yet with its feet firmly
planted in the here and now. And that’s what sets this bigband
apart from the others. After traditional radio entertainment, prime-
time TV shows and everyday light music had been left behind,
there remained behind the desks of the NDR Bigband just those
resolute jazz musicians with the determination, courage and
ability to play after their very own fashion. From long-standing
lead sax Herb Geller, who won his spurs as one of the insiders
in the cool West Coast scene, to the gifted Wolfgang Schlüter,
his opposite number on the fragile vibraphone, to today’s mem-
bers, the Frankfurt rhapsodist Christof Lauer and unassuming
tonal aesthete Lutz Büchner on tenor saxophones, together
with abstract expressionist Peter Bolte and rocker Fiete Felsch
on altos as well as powerplant Frank Delle out on the right on
baritone sax. From section leader Thorsten Benkenstein and the
Hunter in the morning, shepherd at noontime, critic of an evening.
Elegant swing yesterday, elastic Latin beats today, genuine be-
photo: Steven Haberland
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bob tomorrow, and the following day a programme that is so in-
dividual it can only be associated with the NDR Bigband, a jazz
band made up of self-assured soloists and proud not to be de-
pendent on the glamour of guest stars. Yet, as numerous meetings
with such artists as Chet Baker, Abdullah Ibrahim, Al Jarreau,
Carla Bley, Bobby McFerrin, João Bosco, Omar Sosa and recently
with Joe Sample clearly demonstrate, the band shuns neither
glamour nor international guest stars. Nevertheless, despite all
these meetings and their cultivation of the traditional bigband
repertoire within the context of their busy concert schedule with-
in the NDR’s transmission area, consistent work on their own
sound remains their core area of competence and constitutes
what makes the NDR Bigband uniquely attractive – precisely
what editor Wolfgang Kunert and long-standing leader Dieter
Glawischnig had in mind some thirtyfive years ago when they
set about redefining the function of this band. As a consequence,
the NDR Bigband has gained a reputation as one of jazz’s fore-
most bigbands on both sides of the Atlantic, a winning concept
that has been faithfully pursued for the last three years under the
artistic direction of Jörg Achim Keller. Just as unmistakably as
Keller, who, born in Zurich in 1966, was writing arrangements
for the NDR Bigband at the tender age of 20, represents a younger
generation of bandleaders, so clearly, too, is the unchanging
three-part structure of the band’s repertoire. The first part consists
in preserving jazz’s century-old tradition, the second in exciting
meetings with such stars as Bobby McFerrin, Maria Schneider
or Rolf Kühn, and the third in honing their own profile by perform-
ing compositions either by members of the band or ones writ-
ten by the bandleader. This top-rank Hamburg jazz ensemble
offers its soaring flights of musical artistry in programmes tailor-
made for the soloists in the band by arrangers such as the late
Steve Gray, fellow Briton Colin Towns or Michael Gibbs. And this
is where the NDR Bigband comes into its own, versed, as it is,
in each and every stylistic register, yet with its feet firmly plan-
ted in the here and now. And that’s what sets this big band apart
from the others. After traditional radio entertainment, prime-
time TV shows and everyday light music had been left behind,
there remained behind the desks of the NDR Bigband just those

esolute jazz musicians with the determination, courage and
ability to play after their very own fashion. From long-standing
lead sax Herb Geller, who won his spurs as one of the insiders
in the cool West Coast scene, to the gifted Wolfgang Schlüter,
his opposite number on the fragile vibraphone, to today’s mem-
bers, the Frankfurt rhapsodist Christof Lauer and unassuming
tonal aesthete Lutz Büchner on tenor saxophones, together with
abstract expressionist Peter Bolte and rocker Fiete Felsch on
altos as well as powerplant Frank Delle out on the right on bari-
tone sax. From section leader Thorsten Benkenstein and the
manifoldly well-versed Claus Stötter to sound-modeller Ingolf
Burkhardt and free-thinking avant-gardist Reiner Winterschladen
on trumpets. From Stefan Lottermann, who contributes a whiff
of that cool Frankfurt enjoyment of experimentation, to vitality
breathing Dan Gottshall and Ingo Lahme on trombones. From
Argentinian-born percussionist Marcio Doctor and studio wizard
Stephan Diez on guitar to keyboarder Vladyslav Sendecki, who
not only knows all a concert pianist’s tricks but who not so long
ago was presented with the Hamburg Jazz Award. And, most
recently, the young trombonist Klaus Heidenreich and double
bassist Ingmar Heller have joined the band – each musician con-
tributing his very own splash of colour to the whole and, in so
doing, pushing the ensemble’s horizon ever further out. As well
as adding to the friction within the band, that very friction which
makes for the fiery vitality that has become the trademark of the
NDR Bigband. After all, it’s jazz, music improvised by soloists.
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Al Jarreau vocals
Al Jarreau’s unique vocal style is one of the world’s most pre-
cious treasures. His innovative musical expressions have made
him one of the most exciting and critically-acclaimed performers
of our time with seven Grammy Awards, scores of international
music awards and popular accolades worldwide. It’s not surprising
that he has perfected his technique to such an art. After all, he
has been singing since the age of four, harmonizing with his
brothers and performing solo at a variety of local events in his
hometown of Milwaukee, Wisconsin. Music, however, was not
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Al Jarreau
always the major force in his life. He excelled in sports and was
an above-average student throughout high school and college.
Enrolling at the respected Ripon College in Wisconsin, Jarreau
continued singing for fun, performing locally with a group called
The Indigos during weekends and holidays, and graduated with
a Bachelor of Science degree in Psychology. After moving on to
the University of Iowa to earn his Master’s Degree in Vocational
Rehabilitation, Jarreau subsequently relocated to San Francisco
to begin a career in rehabilitation counseling. In San Francisco,
Al’s natural musical gifts began to shape his future. He found
himself performing at a small jazz club with a trio headed by
George Duke, and by the late 1960s, he knew without a doubt
that he would make singing his life. Relocating to Los Angeles,
he began his apprenticeship in such famed nightspots as Dino’s,
the Troubadour and the Bitter End West. Shortly thereafter, he
branched out to New York City as well, where he gained national
network television exposure with Johnny Carson, Merv Griffin,
David Frost and Mike Douglas. Al teamed with guitarist Julio

Martinez to «spell» up-and-coming comics John Belushi, Bette
Midler, Robert Klein, David Brenner, Jimmie Walker and others
at the famed comedy venue, The Improv. In 1975, following an
extended stint at the Bla Bla Cafe in Los Angeles, he was spotted
by Warner Bros. Records talent scouts and was signed to a re-
cording contract. His debut album for the label, «We Got By»,
was released to unanimous acclaim. It was a reception that
spread across the continent and over the Atlantic when Jarreau
was awarded a German Grammy for Best New International Solo-
ist that same year. A second German Grammy came his way
with the release of his follow-up album, «Glow». Al’s career break-
through came in 1977 when Warner Brothers Records released
«Look» to the Rainbow, his live double album, which was culled
from his first world tour from that same year, and earned the
vocalist his first Grammy for Best Jazz Vocal Performance. His
fourth album, «All Fly Home», was released in 1978 to further
accolades and a second Grammy for Best Jazz Vocalist. It was
followed by a string of innovative and original offerings, including
1980’s «This Time», and the million-selling «Breakin’ Away», which
brought him a broader audience and two more Grammy’s with
awards for Best Male Pop Vocalist and Best Male Jazz Vocalist.
In 1983 Jarreau was released, followed closely the following
year by «High Crime». Both albums spawned a string of R&B
and pop hits, and further cemented him as an international super-
star. «Al Jarreau – Live in London», recorded before a SRO crowd
at Wembley Arena in 1985, continued to solidify Jarreau’s repu-
tation as a world-class master of both studio and stage. Follow-
ing the live album, Jarreau teamed with top producer Nile Rodgers
for «L Is For Lover», which brought some new styles and sounds
to the singer’s repertoire. He continued to top the stateside
charts in 1987 and became a weekly guest in America’s living
rooms singing the Grammy nominated theme song for the hit
television series Moonlighting. With hardly time to take a breath,
he launched into the recording of the «Heart’s Horizon» album,
which contained the #2 R&B smash «So Good» and earned him
another Grammy nomination, this time for Best R&B Album.
After touring the globe for nearly two years, he returned to the
studio – this time with Narada Michael Walden – to fashion the
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26
sound that would launch him into his third decade of music-mak-
ing. The result was 1992’s «Heaven and Earth» for which he
received his fifth Grammy for Best R&B Vocal Performance. With
this, he became one the rare artists to have won Grammy’s in
the three categories of jazz, pop, and R&B. In 1994, «Tenderness»
was released. On this Marcus Miller-produced gem, Jarreau
is joined by an all-star cast (David Sanborn, Kathleen Battle,
Joe Sample, Steve Gadd, to name a few) to bring us a host of
familiar contemporary compositions and to revisit a few Jarreau
classics. 1996 brought some exciting career challenges. While
on a break from touring, Jarreau accepted a three-month stint
on Broadway playing the role of Teen Angel in the hit musical
Grease! Other recent credits include guest star appearances on
New York Undercover, Touched By An Angel and a national
McDonald’s commercial with R&B sensation, Vesta Williams. In
1999, for the first time, Al Jarreau teamed up with symphony
orchestras throughout the U.S. and Europe performing his most
popular hits as never heard before as well as some favorites
from Broadway and the Classics, which received outstanding
review. Al continues to perform symphony shows on a regular
basis. Called «the voice of versatility» by the Chicago Tribune
and «one of the world’s greatest natural resources» by the Detroit
News, Jarreau added a new chapter to his twenty-five-year record-
ing career with «Tomorrow Today» (2001), his GRP Records de-
but. Al Jarreau received his own Star on the Hollywood Walk of
Fame, in March 2001, commemorating his status as one of the
best singers of his generation. Al spent the remainder of 2001
touring the United States, Europe and South Africa and working
on his next album, «All I Got» (2002), where he teamed up with
Verzion Telecom as a Champion for Literacy. This was followed
on by the Grammy nominated «Accentuate The Positive» (2004)
on GRP Records/Universal Music Group. Al’s 30 th year in the
music business saw another landmark with the pairing up with
his peer the legendary R&B guitarist & singer, George Benson,
for the album «Givin’ It Up». Recorded in Spring of 2006, this
record featured many guest artists including Herbie Hancock,
Sir Paul McCartney, Jill Scott, Chris Botti and Patti Austin, amongst
others musical veterans. «Givin’ It Up» was released to critical

acclaim on October 24, 2006 by Concord Music Group/Monster
Music and garnered three Grammy nominations for; Best R&B
Vocal Performance by a Duo or Group, for «Breezin» (nomination
only), and two Grammy wins in 2007 Best Traditional R&B Vocal
Performance for «God Bless The Child» feat. Jill Scott, and Best
Pop Instrumental for «Mornin». Early in 2008, Al handpicked his
favorite romantic tunes spanning three decades for his «Love
Songs», a 14-track compilation that was released in January 2008
on Rhino/Warner Music Group. He also helped the Playboy Jazz
Festival celebrate its 30-year anniversary by headlining a sold-
out opening night at the Hollywood Bowl in Los Angeles. A few
months later on October 14, 2008, Al released his first-ever
Yuletide album, «Christmas». The album features his warm and
inimitable voice interpreting a dozen holiday classics, including
«The Christmas Song», «Winter Wonderland» and «Carol Of The
Bells». Still one of the hardest working men in show business,
2009 saw Al take in a six-week European spring tour visiting
theatres & festivals in Germany, France, Scandinavia, Eastern
Europe and North America. In the middle of all this, Al also found
the time to put together «The Very Best of Al Jarreau: An Excellent
Adventure». The 16-song collection highlights some of Al’s best-
known songs, alongside one new track «Excellent Adventure»,
which was produced by Richard Nichols and The Randy Watson
Experience (Grammy winning songwriter James Poyser and The
Roots drummer Amir «Questlove» Thompson) – who have also
produced songs for Erykah Badu, Al Green and The Roots (among
other notable artists). Some of the albums represented include
1976’s «Glow» («Rainbow In Your Eyes» one of Al’s first ever
charting tunes), 1977’s «Look to the Rainbow» («Take Five»),
1980’s «This Time» («Spain», «Never Givin’ Up»), 1981’s «Breakin’
Away» («Roof Garden,» «We’re In This Love Together»), 1983’s
«Jarreau» («Mornin’,» «Boogie Down»), 1984’s «High Crime»
(«After All»), 1988’s «Heart’s Horizon» («So Good») and «Accen-
tuate The Positive» («Cold Duck»), along with other hits «Moon-
lighting», the theme from the hit TV series; Grammy-winning
virtuosic «Round, Round, Round», «Blue Rondo A La Turk», and
«We Got By» (from Al’s debut album of the same name). After
more than 30-years Al Jarreau is undoubtedly one of the greatest
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30
Joe Sample
performers and innovative vocalists the music world has ever
known. Time Magazine called him «the greatest jazz singer alive»
and «Excellent Adventure» illustrates perfectly the reason why.
Al continues to tour extensively worldwide, with his sextet and
Symphony shows, and is currently in studio working on a new
album.
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Joe Sample piano
For more than four decades, pianist and composer Joe Sample
has been an integral, innovative and bestselling part of jazz his-
tory. With «Soul Shadows», the first all solo piano recording of
Sample’s illustrious career, he pays homage to the great American
songwriters of the 20 th century whose masterful works inspired
his own development as one of the most diverse and popular
jazz performers of the last half century. A founding member of
the influential jazz funk combo The Crusaders (originally the Jazz
Crusaders) and a pioneer of contemporary jazz piano, Sample
reaches back to the primary sources of jazz and soul music to
create his personal interpretations of classics by such esteemed

composers as Scott Joplin, Jelly Roll Morton, the Gershwins, Al
Jolson, Duke Ellington, Fats Waller and others. While exploring
these rich expressions of Americana, Sample acknowledges his
own key role in carrying on these powerful legacies by including
distinct reworkings of two of his own classics, «Soul Shadows»
(which originally appeared on «The Crusaders’ Midnight Triangle»
in 1976) and «Spellbound». Soul Shadows’ multi-faceted 12 track
set list includes such Great American Songbook chestnuts as
Joplin’s «The Entertainer», Ellington’s «I Got It Bad and That’ Ain’t
Good», Gershwin’s «Embraceable You» and «I Got Rhythm»,
Waller’s «Ain’t Misbehavin’» and «Jitterbug Waltz», Morton’s
«Shreveport Stomp» and Jolson’s «Avalon». But for Sample, the
collection is more than simply living and re-interpreting musical
history-it’s a true window into the heart and roots of the man
and an insight into the role of the piano player in 20 th Century
American music. His approach to the songs and the genre per-
fectly reflect Sample’s belief that «if you played the piano in a
stride or ragtime or a boogie-woogie manner, you wouldn’t need
a bass player, you didn’t need a drummer. That’s how I started
playing in the first place. I’ve been a solo pianist since I was six
years old playing in my mama’s living room for her after-church
teas.» Conceptually, the defining track on «Soul Shadows» is
the Walter Donaldson-Sam Lewis-Joe Young composition «How
You Gonna Keep ‘Em Down on the Farm?» which opens the
set. For Sample, the album is something of a long overdue tribute
to a chief personal influence slightly lesser known to the listening
public-James Reese Europe, the first bona fide jazz big band
leader whose jazz orchestra entered Paris in 1918 as part of the
famous Fighting 369 th unit. Before returning to Harlem in 1919,
Europe and his orchestra spread jazz throughout England and
Europe, introducing audiences to a sound and style that would
change history. Sample’s father fought in World War I and told
his son stories about Europe and hearing the song, which was a
big hit during that time. «As a young musician I wondered, where
did our music come from?» says Sample. «I’ve become a bit of
a historian of jazz and all African American music, and recently
discovered a biography of James Reese Europe. Reading that
biography has given me a clearer understanding of why he has
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32
been so important not only to me, but to all of us.» Learning to
play piano at age five, the Houston native’s formative years found
him firmly rooted in many different musical traditions, including
gospel, soul, bebop, blues, Latin, and classical music. One of
the many jazzmen who started out playing hard bop but went
electric during the fusion era, (soon after attending Texas Southern
University for three years,) Sample founded the Jazz Crusaders
along with trombonist Wayne Henderson, tenor saxman Wilton
Felder and drummer Stix Hooper. Relocating to and launching
their storied career in Los Angeles, The Crusaders patterned
themselves after Art Blakey’s Jazz Messengers, only without a
trumpet and becoming renowned for their unique tenor/trombone
front line. Sample focused on the acoustic piano during the Cru-
saders’ early years (late 1950s, early 1960s), but began to place
greater emphasis on electric keyboards when the band turned
to jazz/funk in the early 1970s and dropped the «Jazz» from its
name. After garnering numerous gold and platinum albums over
the course of nearly three decades, The Crusaders’ last official
recording was «Life in the Modern World» in 1987. Sample and
Felder released the dual album «Healing the Wounds» on GRP
in the early 1990s, and in 2003 rejoined Hooper for a more full-
scale reunion that produced the Southern styled hit jazz fusion
recording Rural Renewal-billed as the first new album by The
Crusaders in over 20 years-and a popular subsequent tour. While
actively touring as a member of the Crusaders, Sample simultane-
ously launched a successful solo career. His bestselling recor-
dings include «Rainbow Seeker», «Carmel», «Voices in the Rain»,
«Spellbound», «Ashes to Ashes», «Invitation» (a return to his be-
bop roots), «Did You Feel That?», «Old Places», «Old Faces» and
the George Duke produced «Sample This». GRP also released
«The Joe Sample Collection» and the three CD «Crusaders Collec-
tion» as testament to Sample’s enduring legacy. The pianist’s
most recent recordings are 1999’s «The Song Lives On» (featuring
duets with singer Lalah Hathaway) and 2002’s «The Pecan Tree»,
a colorful tribute to his hometown of Houston, where he reloca-
ted in 1994. In addition to his own recording, Sample has toured
and performed with numerous musical greats in all genres, includ-
ing Marvin Gaye, Tina Turner, BB King, Eric Clapton, Joe Cocker,

Randy Crawford (who sang on the 1979 Crusaders smash «Street
Life»), Anita Baker, Andrae Crouch and many others. By return-
ing to the roots of his own musical influence, Sample’s «Soul
Shadows» gives us a unique reflection and chronicle of traditional
American music at its best.
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Nils Landgren special guest
Born in 1956, Nils Landgren began playing drums at the age of
six, before at last discovering the trombone at 13. Between 1972
and 1978 Nils studied classical trombone at the music college
in Karlstad with David Maytan and at the university in Arvika with
Ingemar Roos. Meeting the legendary Swedish Folk-Jazz pioneer
Bengt-Arne Wallin as well as the fantastic trombonist Eje Thelin
persuaded Nils to move from strict classical studies to improvisa-
tion and to begin the development of his own approach. After
his graduation Nils moved to Stockholm to work as a professional
trombone player. He was soon touring with the most successful
Swedish pop star of that time, Björn Skifs’ Blue Swede who
got to number 1 in the US pop charts with Hooked on a feeling.
In 1981 Thad Jones invited the Swede into his new big band
project «Ball of Fire», to take the lead-trombone chair. Ever since
that time Nils Landren has been involved in most styles equally:
jazz and rock, soul and hip hop, big band sessions, and by his
own reckoning, at least 500 albums including such internationals
stars as ABBA, The Crusaders, Eddie Harris, Bernard ‹Pretty›
Purdie, Wyclef Jean and Herbie Hancock. In 1983 Nils’ debut
album «Planet Rock» was released, followed by «Streetfighter»
in 1984, «You are my Nr 1» in 1985, «Miles from Duke» with
Bengt-Arne Wallin in 1987, «Chapter Two 1», in 1987, «Chapter
Two 2» and «Follow your heart» in 1989. Between 1985 and
1987 Nils also performed as actor, singer, trombonist, and dancer
in over 360 performances of the Swedish ‹play of the year›, Skål,
as well as appearing in several TV-films as an actor. 1992 saw
the first performances and recording of the Nils Landgren ‹Unit›.
The final breakthrough beyond Scandinavia came first in 1994:
it was at the Jazz Baltica Festival at Salzau in Germany that the
‹Unit› became the ‹Funk Unit›. The album «Live in Stockholm»
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36
photo: Steven Haberland
Nils Landgren
was released that year and was the foundation for the collabo-
ration with Siegfried Loch and his then young ACT label. The next
Funk Unit release, «Paint It Blue», was one of 1997's most suc-
cessful albums and received Germany’s Jazz Award. The following
tour of over 100 dates gave Nils Landgren and the Funk Unit
their breakthrough in Germany. Inspired by his mentor Bengt-
Arne Wallin, Nils Landgren ventured into non-funky realms with
a re-working of traditional Swedish folk songs: «Swedish Folk
Modern» (ACT 9257-2), his first duo with the pianist Esbjörn
Svensson, followed up by «Layers of Light», an even gentler
evocation. Between January 1998 and January 2001 Nils Landgren
was also a member of the NDR Bigband in Hamburg, but con-
tinuously touring throughout with the Funk Unit worldwide. During
this time three albums were released: after «Live in Montreux»
(ACT 9265-2) appeared in 1999 «5000 Miles» and in September
2001 «Fonk da World» (ACT 9299-2), which was presented live
at a special 3 day festival in Hamburg dedicated to Nils Landgren’s

music. The «grooving band, which encouraged the younger mem-
bers of the audience into a dance frenzy, but which was also
taken seriously by the greying jazz snobs» (Der Spiegel), proved
that it could be counted as «the best funk band in Europe today»
(Stereo). As artistic director of the illustrious Berlin Jazz Festival
in 2001 Nils Landgren set up a concise overview of the current
directions in Scandinavian jazz and was awarded the ‹Tore Ehrling
Prize› by the Swedish Composers’ Federation for his «special
contribution in bringing worldwide attention to Swedish jazz». A
further aspect of Landgren’s multi-facetedness has been shown
since 1993, when the album «Ballads» was recorded, and on its
release in Germany in 1999 showed for the first time his talent
as an emotional ballad singer. With his tasteful tenor voice he
has been compared to the introverted style of Chet Baker. In
2002 he undertook a recording of a sequence of love songs on
a «Sentimental Journey» which was enthusiastically received
by public and critics alike. «We want more of this» proclaimed
the WOM Journal and so was able to follow this through the
production of the album «I Will Wait For You» where the singer
Rigmor Gustafsson – having previously made her name as a
guest on «Sentimental Journey» – took centre stage. It stormed
into the jazz charts in Sweden and Germany, reaching number
1 and number 2 respectively. In 2004, after a self-imposed sab-
batical of almost two years, Landgren went full steam ahead
with his Funk Unit and produced the acclaimed Platinum «Funky
Abba» album; his own personal hommage to one of the greatest
pop bands in history. 2005 marks the new album «Creole Love
Call» together with the legendary keyboarder Joe Sample of The
Crusaders, in which Nils Landgren can be heard again primarily
as a vocalist. In December 2005, Nils Landgren celebrated Christ-
mas in a church in Stockholm with some friends from the Scan-
dinavian music scene and thus fulfilling a long-time dream. This
unique recording of the most beautiful Christmas songs from
the middle ages to our time was released in December 2006 on
CD and DVD, went gold in Sweden and Germany within a month
of its release, and climbed to #2 of the German Jazz charts:
«Christmas with my Friends». 2007 brings the Funk Unit back
again. The eighth funk album demonstrates the same killer groove
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40
as its award-winning predecessors lead us to expect. Nils Land-
gren definitely has it: the «Licence to Funk». Given the resounding
success of JazzFest Berlin ‘01, Landgren has been nominated
again in 2008 as artistic director of the JazzFest Berlin for the
coming three years. At the end of 2008 he will release a sequel
of his successful first Christmas album: «Christmas With My
Friends II». Music knows no borders, music is freedom – this is
Nils Landgren’s credo. For every record of his new Funk Unit
album «Funk For Life» (released in spring 2010) sold, one Euro
goes to the Funk Unit – Médecins Sans Frontières (Doctors with-
out borders) project «Funk For Life» in Kibera Nairobi. By purcha-
sing the CD the buyer will contribute in making life for people
in Kibera just a bit easier. And he helps to guarantee that from
now on, music will be a central part of the education in Kibera.

46
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII JAZZ & BEYOND
Prochain concert du cycle «Jazz & beyond»
Nächstes Konzert im Zyklus «Jazz & beyond»
Next concert in the cycle «Jazz & beyond»
Option B Mardi / Dienstag / Tuesday 22.01.2013 20:00
Salle de Musique de Chambre
«GismontiPascoal»
Hamilton de Holanda mandolin
André Mehmari piano
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Option C Mardi / Dienstag / Tuesday 26.02.2013 20:00
Salle de Musique de Chambre
Tineke Postma Quartet
Tineke Postma soprano & alto saxophone
Marc van Roon piano
Frans van der Hoeven bass
Martijn Vink drums
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Jeudi / Donnerstag / Thursday 14.03.2013 20:00
Grand Auditorium
Monty Alexander Trio
Monty Alexander piano, vocals
Lorin Cohen double bass
Frits Landesbergen drums

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII LUXEMBOURG FESTIVAL
Prochain concert «Luxembourg Festival» à la Philharmonie
Nächstes «Luxembourg Festival»-Konzert in der Philharmonie
Next «Luxembourg Festival» concert at the Philharmonie
Dimanche / Sonntag / Sunday 18.11.2012 20:00
Grand Auditorium
«Bach meets Fats Waller»
Nigel Kennedy violin
Jarek Śmietana guitar
Yaron Stavi bass
Krzysztof Dziedzic percussion
Johann Sebastian Bach: Partita N° 3: 1. Preludio
Sonate N° 2: 2. Fuga; 3. Andante; 4. Allegro
Fats Waller: Various songs, arranged by Nigel Kennedy
for violin, guitar, bass & percussion
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII LUXEMBOURG FESTIVAL
Prochain événement «Luxembourg Festival» au Grand Théâtre
Nächste «Luxembourg Festival»-Veranstaltung im Grand Théâtre
Next «Luxembourg Festival» event at the Grand Théâtre
Mardi / Dienstag / Tuesday 20.11.2012 20:00
Grand Théâtre
«Rosas – Early works 1982–1987: Fase»
Anne Teresa De Keersmaeker chorégraphie
Anne Teresa De Keersmaeker, Tale Dolvendanse,
Michèle Anne De Mey création danse 1981 (Piano Phase,
Clapping Music)
Jennifer Everhard création danse 1981 (Come Out)
RemonFromont lumières (Piano Phase, Clapping Music)
Mark Schwentner lumières (Violin Phase, Come Out)
Martine André, Anne Teresa De Keersmaeker costumes 1981
Steve Reich: Piano Phase; Come Out; Violin Phase;
Clapping Music
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La plupart des programmes du soir de la Philharmonie sont
disponibles avant chaque concert en version PDF sur le site
www.philharmonie.lu
Die meisten Abendprogramme der Philharmonie finden
Sie schon vor dem jeweiligen Konzert als Web-PDF unter
www.philharmonie.lu
Impressum
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© Etablissement public Salle de Concerts
Grande-Duchesse Joséphine-Charlotte 2012
Pierre Ahlborn, Président
Matthias Naske, Directeur Général
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