"Simon Nabatov's musical education began at the age of 3, his father, himself a musician, being the first teacher. The Central School of Music and Moscow Conservatory were the next steps. After the whole family emigrated and settled in New York in 1979, Nabatov continued his studies at the Juilliard School Of Music. By that time his interest and involvement in jazz and improvised music grew strong enough to make them his main activity.

Since then he performed and recorded with many fine musicians such as Paul Motian, Tony Scott, Sonny Fortune, Kenny Wheeler, Alan Skidmore, Herb Robertson, Louis Sclavis, Charles McPhearson, Billy Hart, David Murray, Paul Horn, Ricki Ford, Marty Ehrlich, Mark Dresser, Barry Guy, Gerry Hemingway, Jim Snidero, Herb Geller, Dave Pike, Attila Zoller, Matthias Schubert, Barry Altschul, Vladimir Tarasov, John Betsch, Ed Schuller, Arto Tuncboyaci, Adam Nussbaum, Paul Heller, Jay Clayton, Ron McClure, Mark Feldman, Drew Gress, Phil Minton, Michael Moore, Han Bennink, Misha Mengelberg, Wolter Wierbos, Paulo Alvares, Gareth Lubbe, Ben Davis and many others.

He enjoyed continuous work with Ray Anderson Quartet, Arthur Blythe Quartet, Perry Robinson Quartet, NDR Big Band (Hamburg,Germany), Steve Lacy - Simon Nabatov Duo, Nils Wogram Quartet, Nils Wogram - Simon Nabatov Duo, Matthias Schubert Quartet, Matthias Schubert - Simon Nabatov Duo and Klaus König Orchestra.

His own projects and activities included, since three decades, hundreds of solo recitals.In the early 90s Nabatov founded the trio with the bassist Mark Helias and the drummer Tom Rainey; the quartet "Nature Morte" with the British vocalist Phil Minton, multireed-player Frank Gratkowski and trombonist Nils Wogram (both from Germany); and the quintet including his trio plus the violinist Mark Feldman and the trumpet player Herb Robertson.In 2003 another trio was formed, with the cellist Ernst Reijseger and the drummers Michael Vatcher (and later Michael Sarin).

As co-leader Nabatov played and recorded in duos with Steve Lacy, with the German tenor sax player Matthias Schubert, American drummer Tom Rainey, Dutch drummer Han Bennink, German trombonist Nils Wogram, Dutch cellist Ernst Reijseger and the Dutch pianist Misha Mengelberg, just to mention a few. His current duo partners are the South-African born viola player and vocalist Gareth Lubbe, the Turkish clarinetist Oguz Buyukberber and the Brazilian pianist Paulo Alvares.

In the 1999-2000 season a large-scale radio production project (co - sponsored by WDR and Bayer AG) saw him write and record over 6 hours of music for solo piano, duo (with the American reed player Michael Moore), his trio, the quartet "Nature Morte" and the quintet. Beginning of 2000 the Swiss label HatHut Records brought out the first recording - the trio release "Sneak Preview". The next three recordings, quartet "Nature Morte", quintet "The Master and Margarita" and solo "Perpetuum Immobile" have been released by Leo Records.

Two more CD´s - " Chat Room" ( duo with Han Bennink ) and "Autumn Music" ( trio with Ernst Reijseger and Michael Vatcher ) were brought out by this independent English label.The next project produced by WDR in 2004 was a 90 - minute piece " A Few Incidents" based on the texts of Russian writer Daniil Charms. The octet included Phil Minton, Frank Gratkowski, Nils Wogram, Ernst Reijseger, Cor Fuhler, Matt Penman, Michael Sarin and Simon Nabatov. Leo Records released the recording of this composition in 2005. Together with "Nature Morte" and "Master and Margarita" it completed the "Russian Trilogy", 3 musical projects based on the Russian literature.

In 2009 Nabatov, sponsored by the Cologne culture institutions, completed a 5-day project called "Roundup" (involving M.Schubert, N.Wogram, E.Reijseger and T.Rainey), resulting in 3 CD's released on Leo Records: quintet "Roundup", a trio with E.Reijseger and M.Schubert - "Square Down" and another one with N.Wogram and T.Rainey - "Nawora".

Starting around 2000, parallel to his jazz activities, Simon Nabatov developed a deep interest for the culture and music of Brazil. This led him to study the Portuguese language, travel number of times throughout the country and learn a great deal about a number of different musical genres.

Some of the more structured activities in that field were a CD release "Around Brazil" on the ACT label (2006), and the two-months long Goethe-Institut "Artist-in-Residence" in Porto Alegre, which allowed Nabatov to learn more about the regional "musica gaucha". Since 2007 he often performs his solo program based on Brazilian music.

In the recent years Nabatov also delved into the field of electronic music, learning MAX/MSP programming environment; in April 2013 he premiered his new solo program for piano and computer, developed together with the German composer and electronic music specialist hans w. koch. In December 2016 excerpts from this program made up a half of the program of his most recent CD "MONK 'N' MORE".

Another musical adventure of the recent years was Nabatov's solo program dedicated to the music of the great jazz composer and pianist Herbie Nichols. Leo Records released a highly acclaimed CD of that program, and the PanRec label brought out a DVD.2015 saw Nabatov realize a four-part project "...still crazy after all these years" (celebrating 25 years in Cologne), which resulted in forming 4 new trios: with two young Cologne musicians Stefan Schoenegg and Dominik Mahnig, with Andre de Cayres and Rodrigo Villalon (dedicated to Brazilian music), with two giants of improvised music Barry Guy and Gerry Hemingway, and a trio with two string players, Gareth Lubbe (viola) and Ben Davis (cello). The first documentation of the project - Simon Nabatov Trio "Picking Order" was released August 2016 on Leo Records. Other 3 releases are planned for 2017.

Simon Nabatov performed and recorded numerous pieces of chamber music, some of them written specially for him: "Piano Concerto "Baba" by the American pianist/composer Kenny Werner, "Sonata for violin and piano" by the Irish bassist/composer Ronan Guilfoyle,"Trumpet Sonata", "Cello Sonata", "Trio for flute,cello and piano" by the Swiss reed-player/composer Daniel Schnyder. He also performed and recorded some of the more known "crossover" works, such as "Rhapsody in Blue" by George Gershwin (NDR Symphony Orchestra Hannover,1998) or "Concerto for Jazz Ensemble and Orchestra" by Rolf Liebermann (NDR Symphony Orchestra and Big Band, Hamburg,1996).

Nabatov was among the winners of the 3rd "International Great Jazz Pianist Competition" in Jacksonville, USA (2nd prize) in 1985, and of the "Martial Solal International Jazz Piano Competition" in Paris, France (3rd prize) in 1989. In 1987 he was awarded a grant from the National Endowment for the Arts (NEA).

Simon Nabatov made numerous radio productions for most of the major European broadcasting companies: WDR, NDR, HR, BR, SFR, Radio France, Radio Zürich, Radio Ireland etc.

He played on countless international jazz festivals including Paris, Antibes, Helsinki, Zagreb, Nevers, Berlin, Dublin, Cork, Vilshofen, Bergamo, Groeningen, Vilnus, Karlsbad, Genua, North Sea, Brugge, Voss, Bergen, Riga, Vilnius, Ulrichsberg a.m.o.

Simon Nabatov gave concerts and workshops in over 60 countries, he appears on ca. 70 recordings, and his own music and projects are documented on over 25 CD's and 3 DVD's (all DVD's on PanRec).

He has taught at the Folkwang Hochschule (Essen), Musichochschule Lucerne (Switzerland) and at the International Jazz and Rock Academy (Remscheid).2012 - 2014 he was the substitute professor of Jazz piano and Ensemble at the Conservatory of Hannover, Germany.

Since 1989 he resides predominantly in Cologne, Germany, but keeps an apartment and a part of his heart in New York."

"Frank Gratkowski, saxophone. Born in Hamburg, 1963.

Started playing the saxophone at 16 and, following a period at the Hamburg Conservatory (Hamburger Musikhochschule), moved in 1985 to study at the Cologne Conservatory of Music with Heiner Wiberny, graduating in 1990.

Further studies with Charlie Mariano, Sal Nistico and Steve Lacy.

Frank Gratkowski has been working as a soloist in various international formations (Grubenklang Orchester, Klaus Koenig Orchester, Musikfabrik NRW, Tony Oxley Celebration Orchestra, Bentje Braam, BikBentBraam, All Ears, Zeitkratzer, WDR Big band, etc.). Since 1990 he has been giving solo performances throughout Europe, Canada and USA. With his first solo program, he was a 1991 prizewinner in the Musik Kreativ contest. The release of the solo CD "Artikulationen" followed the same year and a new one "Artikulationen II" in 2002.

Since 1992 he has been working in a duo with the pianist Georg Graewe (CD "VicissEtudes"). The duo is often extended through the participation of different additional musicians, such as drummer Paul Lovens (CD "Quicksand") and bassist John Lindberg (CD "Arrears").

In 1995 he founded the "Frank Gratkowski Trio" with Dieter Manderscheid (Germany), bass, and Gerry Hemingway (USA), drums, (CDs "Gestalten" and "The Flume Factor" ). In 2000 the trio has been extended to a quartet by Dutch trombonist Wolter Wierbos (CDs "Kollaps", "Spectral Reflections", "Facio" and "Le Vent et la Gorge"). Since 2003 also appearing as a Double Quartet plus Tobias Delius, Herb Robertson, Wilbert DeJoode and Michael Vatcher. In 2005 he got the SWR Jazzprize.

In 1999 the duo with the Italian trombonist Sebastiano Tramontana has been formed and since 2001 Frank Gratkowski has been performing with a trio including Wilbert De Jode (NL) on bass and Achim Kaufmann (D) on piano (CDs "Kwast" and "Unearth"). Since 2006 he's working with the Trio Gratkowski / Brown / Winant (CDs "Wake" and "Vermilion Traces/Donaueschingen 2009"). He is also a co-leader / composer of the Multiple Joy[ce] Orchestra and got a commission to compose for the ensemble Apartment House by "November Music " (Den Bosch NL) and the "Huddersfield Comtemporary Music Fesitival" (England) in 2009. Further actual projects are Fo[u]r Alto, a saxophone ensemble dedicated to microtonal music and "Artikulationen E" a solo program for saxophone with 8 channel live electronic.

Frank Gratkowski played on nearly every German and on numerous international Jazz and contemporary music Festivals including Vancouver, Toronto, Chicago, New York, Seattle, Quebec, Les Mans, Muelhuus, Groeningen, Nickelsdorf, Barcelona, Lithuania, Warsaw, Zagreb, Prague, Bratislava, Sofia, Bucharest, Odessa and Roma, Huddersfield, London.

He has been teaching saxophone and ensembles at the Cologne, Berlin and Arnhem Conservatory of Music and is giving workshops all around the world.

Furthermore he has performed with Robert Dick, Phil Wachsmann, Radu Malfatti, Herb Robertson, Marcio Mattos, Eugenio Colombo, Peter Kowald, Ray Anderson, Michael Moore, Ken Vandermark, Greg Osby, Kenny Wheeler, Louis Sclavis, John Betsch, Jane Ira Bloom, Connie and Hannes Bauer, Xu Fengxia, James Newton, Muhal Richard Abrams, John Lindberg, Michael Formaneck, Ernst Reijseger, Fred van Hove, Theo Jörgensmann, Phil Minton, Peter Brötzmann, Mark Dresser, Mark Feldman, Hamid Drake, Michiel Braam, Han Bennink, Mal Waldron, Misha Mengelberg a.m.o."

Based in Cologne, Germany, oboist Ina Stock has built a multifaceted career spanning historical performance practice, contemporary music, jazz, and pop. After studying at the Cologne University of Music with Prof. Helmut Hucke, graduating with distinction in 1991, she continued specialized studies in baroque oboe with Michael Niesemann, earning her concert exam in 1995. Her early achievements include first prize at the 1990 Tonger Oboe Competition in Cologne and second prize at the 1993 Fernand Gillet International Oboe Competition in Minneapolis.

Specializing in historical instruments, particularly baroque oboe, Stock performs with leading European ensembles and orchestras including Concerto Köln, Cappella Coloniensis, Nederlandse Bachvereniging, Cappella Augustina, and l'arte del mondo, while also engaging deeply with contemporary repertoire through collaborations with groups such as Musikfabrik NRW and Ensemble Modern. An active chamber musician and recording artist, she has also recorded with the trio tre venti.

Alongside her performing career, Stock is a dedicated educator, serving as a lecturer for oboe at the University of Cologne and the Folkwang University of the Arts in Essen. Since 2012 she has chaired the professional association for early music in North Rhine-Westphalia, and she currently serves as deputy chairwoman of the regional music section of ver.di NRW as well as a board member of its corresponding federal section.

""Lucia Mense - recorder and traverso player pursues unusual paths:after undertaking extensive studies of Baroque music, she is now passionately dedicated to various earlier styles as well as new western art music. Creative processes in medieval and new music attract her, improvisation is her vital interest."-(Christina Hartmann, www.zamus.de)

For years now Lucia Mense has been fascinated by the direct, the natural as well as the variable qualities of the sound of the recorder. The colorful palette and the speech-like articulation - not unlike the art of singing - in connection with the potential velocity of gesture, comprise the departure point for her interpretations.

The presence of the recorder in music history until 1800, as well as in contemporary times, enables her to be artistically active in both Early and New music.

Just as extraordinary are her instruments, that is traditional and modern flute types:Medieval recorders and traverse flutes - i.e. copies of instruments found in Dordrecht and Elblag: plus a double recorder;recorders of the Renaissance and Baroque types in different siyes;modern recorders by H. Paetyold and M. Helder.

The search for new techniques is Lucias concern / i.e. the use of circular breathing in medieval and modern music."

Lucia Mense performs as soloist and as a member of Ensemble Beltatz, Ars Choralis Coeln, Ala Aurea and Ensemble Dialogue.

"Axel Lindner (born 1980 in Mönchengladbach, Germany) is a German violinist.He commenced Jazz - Violin studies in 2004 at the Hogeschool voor de kunsten in Arnhem.Since 2006 he has continued his studies at the Hochschule für Musik zu Kölnwith Michael Gustorff.

He played in Superstrings, Sunship String Quartet, Scott Fields String Feartet, Scott Fields Ensemble, Multiple Joy[ce] Orchestra, Hot Club de Cologne, Norbert Steins Pata-Ensemble and also with Jens Düppe, Frank Köllges, Roman Podeszwa, Maciej Sledziecki, Hannah Köpf among others.

Presently, Axel Lindner teaches the violin at the Offene Jazz Haus Schule (Cologne) and the English language Rheindahlen Music Centre (Mönchengladbach)."

"Born in Hagen, Axel Porath studied viola with Hermann Voss and Gunter Teuffel at the Musikhochschule Stuttgart, string quartet with the Melos Quartet and with Jörg-Wolfgang Jahn in Karlsruhe.

Since 2002 he has been a member of the Ensemble Musikfabrik and performs worldwide at all major festivals for contemporary music as a soloist and chamber musician, e.g. at the Lincoln Center Festival New York, Berliner Festwochen, Festival d'automne à Paris, Venice Biennale. Axel Porath has worked with many composers, e.g. Mauricio Kagel, Helmut Lachenmann, György Kurtág, Wolfgang Rihm, Peter Eötvös, Rebecca Saunders, Liza Lim. Toshio Hosokawa, Enno Poppe and Martin Smolka have dedicated solo works to him.

He also performs as a chamber musician in duo with Margit Kern (accordion) and with various improvisation and jazz musicians, including Carla Bley, Matthias Schriefl, Simon Nabatov, Theresia Philipp, Jens Düppe. As a solo violist he has appeared with the Gürzenich Orchestra Cologne, Antwerp Symphony Orchestra, Bavarian Chamber Orchestra and Heidelberg Symphony Orchestra. He has performed as a soloist with the RIAS Chamber Choir, the Baden-Baden Philharmonic, the Neue Rheinische Kammerorchester Cologne and Capella Amsterdam, and has been involved in numerous CD, radio and television productions.

"Meeting and working with Helmut Lachenmann sparked my interest not only in his work but in new music in general. I am always excited by the fascinating sound-worlds of new music, its broad stylistic range, and the creativity and flexibility it demands of the performer, especially in direct collaboration with composers." "

"Geographic preamble: I live in Cologne, Germany and play wherever.

Like anyone, I am the product of various interests, desires, and experiences. But in this slice of digital real estate I'm concerned with bringing attention to myself as a musician. If you're here, you likely want to know a bit more about me and the kind of things I play. That can be arranged. If you're looking for where I went to school, famous people I studied and played with, and other such platitudes, sorry, you won't find them here. I'm tired of that game and am aiming for something more realistic here.

When I went to graduate school I started introducing myself as Nathan instead of Nate. A pretty arbitrary and laughable attempt to signal some kind of passage to adulthood or whatever. But, it stuck, and something did change at that time regarding my seriousness about music. So, in that same sense, now I answer the question of "what do you do?" by saying I'm a musician, not a cellist.

Here is a list of instruments I have played in some kind of professional capacity. I'm not trying to look impressive here, but the point is that I like playing a bunch of things and hope to continue to do so. I've ranked them from what I play best to worst (rest assured, things become rapidly funnier and more embarrassing as you travel down the list):

Cello, viola da gamba, voice, guitar, fiddle, bass, piano, organ, percussion.

What I do as a musician can be fitted, broadly, into three genres: Early music, experimental/improvised music (or "free music" as the most excellent Joe Morris has dubbed it), and traditional music.

Within early music I am mostly a continuo player, by design. Since I relocated to Germany, I'm looking to start or join an active gamba consort because, in my opinion, it is the greatest contribution given to the musical canon from the 16th-18th centuries. As I become more active and knowledgeable about historical performance practice I am constantly drawn to music from the truly "early" end of the early music spectrum.

The bulk of my playing falls into the experimental/improvised context. Obviously, it's a broad net. I play in groups that write their own music. I compose for various instruments and, at present, am focusing on songs for cello and voice. Free improvisation (and a healthy dose of new music, whatever that means) informs most of what happens here and is a pretty emblematic and influential force in my life overall. For me, free improvisation was the first time I ever performed without fear and with a feeling of nearly unfettered control of expression with an instrument. Sort of a disembodied, abstract spiritual guru for my life as a musician.

I make a real point here of saying traditional music as opposed to folk music. I'm interested in minimally commercialized music with a close connection to the oral tradition. I think the term "folk" used to refer to the same thing, but not so much anymore. But I'm not a dogmatist about how it's played. I find this music to be malleable; however, one has to be careful with interpreting it. Each stripe of traditional music possesses key ingredients that give it unique vitality. Lose these and you're left with a flaccid lump of sonic garbage useful only for the end credits of a corporate documentary on workplace diversity. That's why I play old-time fiddle, bought a kemence, etc.

I really enjoy teaching people about and how to play music. I used to work at a church. Working with the choir was fantastic, but the most compelling moments involved getting a mass of people who firmly believed they couldn't participate in music to open their mouths and sing together, a cappella. That's perhaps the best summation of the whole thing; music makes things happen in the doing, listening, and creating that has powerful and necessary social implications for our larger lives.

Navel-gazing over. If you read this (really?) and have a strong impulse to cough into your hand while saying 'bullshit', then I think I've done my job. You'll hopefully like the me that uses sounds and tones, not words, much better."

"The exceptional musician Angelika Niescier is one of those extraordinary women who have been giving new contours to the European jazz scene for some time. She is not only a determined artist with unrivaled energy, rich sound palette and virtuoso technique, but also composes for film, theater, big band, ballet and symphony orchestras. Niescier has received numerous scholarships and awards, including the "Prize for Young Artists" in North-Rhine Westphalia, was the first "improviser in residence" in the renowned jazz city of Moers, and received the Echo Jazz for sublim III -thing CD of the year.

Niescier played with jazz greats such as Joachim Kühn, Steve Swallow, Achim Kaufmann, Jim Black, Simon Nabatov, Julia Hulsmann, Nasheet Waits, Ralph Alessi, Tyshawn Sorey, Ulrike Haage ...

She has performed with her own projects on the most important stages and festivals in Europe and toured in Central Asia (eg the Goethe Institute), Italy, Greece, Croatia, Egypt, Mexico, USA, Switzerland, Canada, South Korea, Bahrain, Gaza, West Bank, Iraq, Lebanon, Haiti, Dominican Republic, Russia ...

She regularly gives concerts for various radio and television houses (including WDR, Bavarian Radio, Saarland Radio, Radio Bremen).

Whether soloprograms, continuous work with their working quartet Angelika Niescier sublim, the diverse themes of the composition or fulfillment of compositions for film, theater and dance - the central theme of their works is to blend complex composition and improvisation into an organic whole. She understands the influence of the word, the (film) image, the movement and the visual arts as an important inspiration."

"I'm a freelance artist, based in Cologne, Germany. I mostly work as a composer, trumpet player, producer, and singer-songwriter, but at the moment I'm working on a fake-documentary meta-dystopian movie about my view on the jazz scene, through the lens of depression. I will present it for the first time in an exclusive pre-viewing on the 27th of May at Stadtgarten Köln. For more infos and all my other chaotic processes, you can navigate yourself through this little thingy :)

Since the winter semester '24 I'm teaching at HMTM Hannover: jazz arranging, composing, and jazz trumpet. Challenging, questioning, but also grateful.

In January '25 I worked and presented my new band "Limerence" with Kathrin Pechlof on harp, Felix Henkelhausen on bass, Elisabeth Coudoux on cello, Lina Knörr and Donya Solaimani on vocals, and myself on trumpet and vocals. We recorded a concert for DLF and a record, which will come out last autumn."

"Shannon Barnett is an Australian trombonist and composer, currently based in Cologne, Germany.

She established herself as an important voice in the Australian scene by performing in ensembles including Vada, The Bamboos, The Vampires, and as a guest with the Andrea Keller Quartet, on the 2004 ABC Jazz release Angels and Rascals. Barnett has also appeared with the Australian Art Orchestra, Barney McAll's Mother of Dreams and Secrets feat. Kurt Rosenwinkel, Charlie Haden and from 2009-2010, she worked as a multi-instrumentalist and composer with the contemporary circus group Circus Oz.

In 2010, Barnett released her debut album as a leader, entitled 'Country', on the Which Way Music label. After attending Dave Douglas' 'Workshop in Jazz and Creative Music' in Banff, Canada in 2010, Barnett was inspired to relocate to New York City, where she completed a Master of Music degree. There she performed with the likes of Darcy James Argue's Secret Society, Pedro Giraudo,

Cyrille Aimée and the Jon Faddis Jazz Orchestra of New York and was a regular member of the Birdland Big Band.

In early 2014, she moved to Cologne, Germany, to take up a position with the WDR Big Band, which gave her the opportunity to perform with guests including Vince Mendoza, Ron Carter, Joshua Redman, Maria Schneider and Paquito D'Rivera. She has also become very active in the local scene. Her quartet, featuring Stefan Karl Schmid, David Helm and Fabian Arends released their debut album in 2016 on Double Moon/Challenge Records, and the band was subsequently nominated as a semi-finalist in the 2017 Neuer Deutscher Jazzpreis. Their second album 'Bad Lover', was released in 2022 on Florian Ross' 'Toy Piano Records' label.

In 2018 she composed and presented the cross-disciplinary work 'Dead Weight' for musicians and fitness studio.

Her project 'Wolves and Mirrors' released their album in early 2021.

In April 2019 she began as Professor for Jazz Trombone at the Hochschule für Musik und Tanz in Cologne, Germany.

In 2020 she received the WDR Jazz Prize for Improvisation and in 2022 she received the German Jazz Prize in the brass instrument category."

"I'm a bass player and composer based in Cologne, Germany.

I'm working in the field of contemporary jazz and improvised music. With different projects and bands I'm trying to find an emotional depth and meaning in playing music by spending a lot of time in long-term processes discovering what different individuals are able to create together.

I like to listen and to talk, to observe and discuss. As a person and also as a musician I try to be honest, trustful and always curious to learn from the people around me.

Roger Kintopf's passion for music began at an early age, growing up in a family where music was a central part of their lives. As a child, he spent countless hours more or less consciously listening to and eventually developing a deep connection with music.

In recent years, Roger has established a strong voice as a double bass player and composer in the German jazz scene, sharing the stage with renowned musicians such as Johanna Summer, Felix Hauptmann, Leif Berger, Pascal Klewer, Phillip Dornbusch, Christian Lillinger, Kit Downes, Loren Stillman and more. He's also had the honor of playing as a sideman in both small and large ensembles (e.g. Pascal Klewer BigBand or PERCUSSION) featuring guests like Christopher Dell, Cory Smythe, Peter Brötzmann, Evan Parker, and many others.

From 2016 to 2022 he studied at the Hochschule für Musik und Tanz in Cologne, learning from some of the most respected musicians like Dieter Manderscheid and Robert Landfermann.

Since 2016 Roger works as a bandleader and composer with his ensemble STRUCTUCTURE (formerly known as "First Circle"), consisting of some of his closest friends Asger Nissen, Victor Fox and Felix Ambach.

With this band he released the albums gläüö, STRUCTUCTURE, Good Vibes Vol. 1 and STRUCTUCTURE II and played tours in Germany, France, Poland and Czech Republic.As an solo artist, he made his debut recording and releasing his album "solo" in 2021.

When he's not making music, Roger can often be found drinking coffee, spending time with his loved ones, pedaling around on his bike or sitting in the audience of a concert with a drink in his hand."

"Alexander Parzhuber, born 1996 in Landshut, is a young German drummer, composer, mixing-/mastering engineer and educator based in Cologne.

He studied "jazz drums" from October 2014 until March 2020 at Hochschule für Musik und Tanz Köln with Prof. Jonas Burgwinkel, Alex Vesper and Dietmar Fuhr. During his studies he was a member of the German National Youth Jazz Orchestra(BuJazzO) from 2016 until 2018. With this band he had the chance to work with artists like Niels Klein, Jiggs Whigham, Randy Brecker, Jörg Achim Keller, Pablo Held and the WDR Big Band. They toured several tours in Germany and around the globe.With the help of the DAAD(German Academic Exchange Service) scholarship, he was able to study one year(2020/2021) in France at the Conservatoire Supérieur National de Musique et de Danse de Paris with Dré Pallemaerts.

These days Alexander plays mainly in original artistic projects like Parzhuber Trio, The Human Element, Kurz/Ludwig/Parzhuber, Simon Nabatov Trio, La Campagne, Vagabond Souls and Byrd Dhillon.

As sideman he plays nationally and internationally with band like Simon Nabatov, Nathan East, Tineke Postma, the WDR Big Band, Subway Jazz Orchestra, Cologne Contemporary Jazz Orchestra, Projects by Fabian Dudek, Heidi Bayer's Virtual Leak, Simon Oslender and the Jacob Manz Project.

Besides his live performances Alexander is frequently mixing and mastering albums like e.g. River - The Human Element, Percussion EP II - Felix Hauptmann, Janos Löber 4tet and recording drums for artists like Lisl and Lisa Spielmann.

Since October 2021 Alexander is teaching "jazz drums" at the Hochschule für Musik und Theater München."