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Andreas Schulz

www.andylovesmusic.de www.onemusic-label.com

„They have remarkable chemistry and a unique sound … Schulz and Engelmann seem to improvise freely, then suddenly, mysteriously, melodies manifest. The first track, “Ytr.Cbs. Manhattan”, is captivating. Drums and saxophone create such a rich sound, they almost become one instrument … “505051” seduces with its exquisite tender opening and melancholy tone, then picks up pace to a gentle crescendo … imaginative like a movie soundtrack, remarkable for its artistic density and intonation, truly gripping … the music never forces itself on the listener. Instead it builds and intrigues until the listener has to stop everything to listen closely … Jazz Edit and Saxophone Edit feature first takes, post-produced takes and alternate takes of most tracks. The latter are never second best, often brilliant new interpretations of the leitmotif.“ (The New York City Jazz Record, Oktober 2020, Seite 14)

„The compositions/improvisations are smart, but also friendly and melodic.“ (The Free Jazz Collective)

„German composer Andreas Schulz and alto saxophone virtuoso Paul Engelmann provide an emotionally- gripping soundtrack to reality in the midst of pandemic chaos.“ (Music Connection)

„Schulz paraphrasiert in sechs Titeln ikonische Umsetzungen der Winner-Serie London Transport mit musikalischen Mitteln … Eine genau ausgezirkelte kompositorische Strenge, […] packende, atmosphärisch hochverdichtete Miniaturen. Muss man gehört haben!“ (Deutschlandfunk Kultur)

„Red Line Bus Version achieves a rich tapestry of sound: opening track “Dust Cart” introduces sounds you didn’t know drums could produce. The music is visceral and visual, evoking big city traffic, at times chaotic and cacophonic, at other times flowing smoothly. … The recordings were done in two takes, an astonishing feat. … The Green Line Bus Version is replete with synthesizers, moody electronic sounds, great tap-along rhythms and hints of techno beats, allowing listeners to imagine riding the bus or Tube in gray, rainy London, an oddly pleasurable experience.“ (The New York City Jazz Record)

„Mit London Transport schufen die beiden Künstler ein Album der besonderen Art. … Ein einmaliges Hörerlebnis!“ (Ahoi Leipzig)

„Wattens Musik lässt sich Zeit. Es entstehen kommunikative Miniaturen, Klanggespräche einer Band, die das Spiel mit der gemeinsamen Erfahrung aus der zeitlichen Distanz auskostet. Eine ungewöhnliche Mischung von Präsenz und Abstraktion.“ (Ralf Dombrowski)

„Kilometres ist ein Spaziergang mit tiefgründiger Leichtigkeit. Die weiche Stimme von Thea Soti bleibt durch die gekonnten Arrangements und das Spiel von Andreas Schulz noch lange im Ohr.“ (Corinna Rottschy, WDR)

„Audiophiler Chamber Pop: 8 von 10 Sternen (Musik), 9 von 10 Sternen (Klang). […] ein erstaunlich intensiver Dialog, der in der Kombination von karger Klanggestalt und feingliedriger Kommunikation Präsenz entfaltet. Das ist Kammerpop mit Anspruch […], der schon durch seine ästhetische Eigenwilligkeit auffällt.“ (Stereoplay, Juni 2019)

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„They have remarkable chemistry and a unique sound … Schulz and Engelmann seem to improvise freely, then suddenly, mysteriously, melodies manifest. The first track, “Ytr.Cbs. Manhattan”, is captivating. Drums and saxophone create such a rich sound, they almost become one instrument … “505051” seduces with its exquisite tender opening and melancholy tone, then picks up pace to a gentle crescendo … imaginative like a movie soundtrack, remarkable for its artistic density and intonation, truly gripping … the music never forces itself on the listener. Instead it builds and intrigues until the listener has to stop everything to listen closely … Jazz Edit and Saxophone Edit feature first takes, post-produced takes and alternate takes of most tracks. The latter are never second best, often brilliant new interpretations of the leitmotif.“ (The New York City Jazz Record, Oktober 2020, Seite 14)

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