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Stan Sulzmann
For over twenty years Stan Sulzmann has been at the forefront of European contemporary
jazz. An instantly recognizable sound coupled with breathtaking technique, as well as
a boundless creative imagination has meant that his talents have been sought after by
a host of discerning musicians, including Kenny Wheeler, Gil Evans, Gordon Beck, Mike
Gibbs, Kenny Clarke/Francey Boland, and John Taylor. In recent times he was a featured
soloist with the N.D.R. Big Band in Hamburg alongside Chet Baker, and has been seen on
major British tours with David Murray, Michael Breaker and the New York Composers
Orchestra.
In his works as a leader Sulzmann has constantly striven to explore fresh approaches
to making jazz music. Take, for example, his Aspects of Paragonne band, which featured
two keyboard players and tuned percussion, or the two bass player line up of the Steam
Bass Band. His current quartet sees him alongside the major new talents of pianist
Nikki Iles and drummer Tim Giles as well as long standing partner Chris Laurence on
bass. A new duo with Iles is currently receiving great acclaim both for its live
performances and the stunning debut album Treasure Trove . Another current project is
The Dangerous Kitchen, a free improvising trio with percussionists Simon Allen and
Martin Pyne, drawing on world music and the avant-garde as well as jazz.
An accomplished and distinctive composer, Sulzmann has written for small groups and
large jazz orchestras alike. Recent work has included pieces for the London Trombone
Quartet and the Guildhall School of Music Jazz Orchestra. He has also written a number
of pieces for The European Jazz Ensemble.
The Guardian has described his music in glowing terms ": . . . meticulously written,
sometimes echoing the imaginative and much missed orchestra of Michael Gibbs."
While creative work remains a priority Stan Sulzmann is an experienced and
enthusiastic educator, equally at home working as a tutor at a summer school or taking
a masterclass at a conservatoire. He places emphasis on developing an approach where
technique remains at all times at the service of personal musical expression. February
1997 saw him leading a major project at the Guildhall School of Music and Drama, and
he continues to work regularly at The Royal Academy of Music, and Trinity College of
Music.
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