The album BLUNATIC is a successful homage to the era of Blue Note: Guitarist Joachim Schoenecker swings relaxedly, with an abundant language of chords, full of bluesfeeling and with a warm sound. This jazz is not exhausting but jazz for after hours. In the trio Schoenecker acts rather easefully when he resorts to the acoustic guitar. But Blunatic gets across not only the strength that is breeded by tranquility: The sextet predominantly acts in medium (thereby extreme relaxed) and quick tempi and meanwhile conveys good mood of playing and enjoyment in communication.
2/3 of the trio and 5/6 of the sextet are recruited from the WDR Big Band. Another name which equals a seal of quality and does not only stand for a high improvisatory standard, variety and precision, but for musicians who have an ear for the whole thing, for the sound of the group.
Blue Note + lunatic = Blunatic. A label’s name fuses with the word for muddleheaded coevals – and for moonstruck people. An outright blue cover joins us in. Also harmonious that the album opens with Midnight Blue.
Blue Note stands for a lot of things: for a specific design of covers, for a certain philosophy of recording, for defined regulars of artists. But first of all: for designed aesthetics. Indeed in the sixties the label stood for the avantgarde of the new thing, for the abstractions of Andrew Hill, Tony Williams or Bobby Hutcherson – but Blue Note above all lived up to its name and featured hardbop and its bluest variant, souljazz. Horace Silver, Kenny Burrell, Herbie Hancock – they stimulated bouncing with the foot and clicking with the fingers. Not with the American Songbook’s standards, the evergreens of Porter, Gershwin, Rodgers & Hart, but with own pieces of music, compositions penned by jazzmusicians.
An ideal repertoire for Joachim Schoenecker, instructed in Hilversum and Cologne, trained on hundreds of stages, semifinalist in the Thelonious Monk Competition in Washington D.C., for allaboutjazz.com „Germany’s best kept secret.“ They are still existing: excellent European syncopaters, who admit to the American jazz tradition without ifs and buts. Schoenecker’s personal style reveals profound knowledge of traditions but also preoccupation with modernity: Wes Montgomery, Pat Martino and Joe Pass inspired him as much as Jim Hall, Pat Metheny or John Scofield – influences and sources of inspiration his own distinctive language of improvisation comes from.