Cameo Johanna Summer & Jakob Manz

• 1 The Opposite 04:16
• 2 The Turmoil 03:29
• 3 Cameo 03:07
• 4 Im Schönsten Wiesengrunde 03:39
• 5 Vistas 02:20
• 6 Delusion 04:04
• 7 Flugzeuge Im Bauch 03:41
• 8 Hope Mechanism 03:59
• 9 Mahler Neu(N) 02:37
• 10 Jj Stomp 04:17
• 11 Your Endless Dream 03:31
• Total Runtime 39:00

Info for Cameo

The duo of pianist Johanna Summer and saxophonist Jakob Manz represents a rare stroke of luck for contemporary German jazz. Both are standout figures of their generation, blending supreme virtuosity with fearless creativity and unmistakable individuality. Rooted in jazz yet effortlessly blending influences from classical, pop, and beyond, they create music that is as surprising as it is enchanting. Their intimate duo format highlights a remarkable interplay, where bold spontaneity meets profound sensitivity. With each note, they weave a vibrant, deeply emotional dialogue that feels both free and masterfully composed. This album captures their unique chemistry—colorful, alive, and full of magic.

The duo of pianist Johanna Summer and saxophonist Jakob Manz is a stroke of luck for the young German jazz scene: the pair are two of its stand-out figures, each blessed with supreme virtuosity, indomitable boldness, broad musical horizons, and an unmistakable individual signature. Their thorough grounding in jazz can be clearly discerned, but at the same time one can hear how they broaden the idiom, welcoming in all kinds of other influences. For Johanna Summer, classical music is particularly prevalent. She regularly performs in major classical music venues, playing free improvisations on everything from Bach to Ligeti, both solo and in a duo with Igor Levit. Jakob Manz’s musical heritage and leanings are very different: his combination of the melodic and rhythmic power of pop with the sensitivity of jazz is totally compelling. He has deep admiration for pop-jazz crossover artists such as Dave Sanborn and Marcus Miller, and through his recent work with German pop star Sarah Connor, the art of projecting his lively sound into huge venues has now become second nature.

Jazz, pop, classical, improvisation, composition...on their second album together, ‘Cameo’, Johanna Summer and Jakob Manz have made the choice to deploy this vast palette of colours in the smallest and most intimate format in which musical interaction can happen, the duo. The repertoire and concept of the new album, produced by Andreas Brandis, mark a step change from their debut together ‘The Gallery Concerts I’. Johanna Summer explains: ‘This time we wanted to write and/or select pieces that not everyone can play, but which suit Jakob and me particularly well. On the first duo album, we played standards and classics, very spontaneously and live. This time, we have tailored the pieces to suit each other.’ The range of original compositions reflects that of their protagonists, from the heartfelt opener ‘The Opposite’ to the rousing ‘The Turmoil’ (with Jakob Manz's virtuoso performance on the recorder) and the soul-drenched ballad ‘The Endless Dream’.

In addition to the eight original compositions, there are also three unusual and particularly characterful arrangements: ‘Im Schönsten Wiesengrunde’(in the loveliest meadow) is a folk song from Jakob Manz’s home region of Swabia, a melody which has been in the air around him ever since early childhood. ‘Mahler Neu(n)’ (Mahler new/nine) is based on the 4th movement of Mahler's 9th symphony – a very familiar piece for Johanna Summer. ‘It almost has the feel of a pop song’, she says. The same can be said of Herbert Grönemeyer's ‘Flugzeuge im Bauch’ (aeroplanes in the belly), although interpreting this piece has been quite some challenge. As Jakob Manz recalls: ‘Transferring Grönemeyer's completely uniquely expressive singing to an instrument turned out to be extremely demanding. The song has more of the sense of words being spoken than a classic melody; I tried to extract the essence of the song.’ Manz and Summer have found clever ways to gently and carefully manoeuvre themselves around the original, very edgy theme. The result is that the pair succeed where all too many jazz arrangements of pop songs come to grief: this one adds another dimension and takes the song to a new level.

There is true alchemy in what these musicians do, not least because they are both so keen to seek out and discover new music. There is magic in their way of listening and reacting, complete enchantment in how the two protagonists – so different and yet so aligned – complement and surprise each other again and again. ‘Whenever Johanna improvises, something happens that you’re not expecting. When she takes a solo, it often seems as if it's been composed, but in fact it’s different each time, it’s just emerged in the moment. There are very few musicians who have mastered that. It challenges me again and again.’ And Johanna Summer responds: ‘I'm impressed by how endlessly musical Jakob is. Everything he plays is coherent and strong; his playing has a clarity that is very human, musical and relatable. Even when he plays something very complex, it is never an end in itself, but always integrated into something that makes perfect sense and is very clear. It is a clarity that is very human, musical and comprehensible. And I am impressed by how Jakob can deliver to the point and draw out everything from within, regardless of external circumstances. He is always 100% there.’

How and why does the duo of Johanna Summer and Jakob Manz function so well? Rather than trying to investigate the two musicians’ individual backstories or influences, one might just as well admit that their appeal is something which can only be felt rather than explained. For some magical reason, a lot of what happens in the music of Johanna Summer and Jakob Manz finds them in complete accord with each other, even though nothing they play is foreseeable until a split second beforehand.. Jakob Manz says: ‘When I play in a duo with Johanna, many of the habits I have developed in playing with other musicians simply don't work any more. Something new can happen at any moment, so you always have to stay incredibly alert. It's very inspiring!’

This album is a testament to the great alertness and sensitivity of both musicians. The listener cannot fail to notice the particular effervescence and immediacy of their musical dialogue. One can only marvel at how such freedom and such clarity co-exist, at the way in which these two very disparate characters interact with each other with such gentleness and self-assurance. The music they co-create is colourful, lively, and deeply felt. A stroke of luck, indeed, maybe even a miracle.

Johanna Summer, piano
Jakob Manz, alto saxophone & recorder

Johanna Summer
German jazz pianist and composer living in Dresden and Berlin, started her piano career at age seven. She took lessons in classical music and was awarded several times at the german federal competition „Jugend musiziert“. Until 2018 she studied jazz piano at „Hochschule für Musik“ in Dresden. Johanna is playing in a variety of lineups, in the federal big band of Germany („Bujazzo“) as well as a soloist. In 2017 she released her trio debut album called „Juvenile“ and was honored with a special prize of „Biberacher Jazzpreis“ for the compositions on this record. A few months later she was awarded with “Junger Münchner Jazzpreis” as first soloist ever. 2019 she won the 2nd prize at “EASTplugged Junior Award” and the prize for the best soloist at “Junger Deutscher Jazzpreis”.

Her album “Schumann Kaleidoskop” will be released in April 2020 on ACT Music, dealing with the music of composer Robert Schumann.

Besides concert tours to many european countries, Russia and the US, she was able to work with musicians like Jiggs Whigham, Rainer Tempel, Steffen Schorn, Sebastian Studnitzky, Randy Brecker, Milan Svoboda and Richard DeRosa.

Johanna's work focuses on the encounter of classical music's fidelity and the spontaneity of jazz.

Booklet for Cameo