Uli Lenz, the dynamic and gifted German pianist whose playful sense of time, melody and composition has already been heard around the globe, is one of the new discoveries in jazz. He’s been on the European scene for over 20 years and has constantly toured Europe, Africa, South America, The Caribbean, The Middle East, The South Pacific, China and Southeast Asia, and has recorded over 8 albums. Lenz’s appearances in the United States have been usually just in New York--but all that is about to change with the release of his first Arkadia Jazz CD, Rainmaker’s Dance.
ULI’S MUSICAL BEGINNING
Lenz was born in Frankfurt, West Germany in 1955 to musical parents who both played and taught piano and organ. Lenz naturally followed in their footsteps, starting his studies of the keyboard at age 4, and gave his first concerts of classical repertoire at age 10. Simultaneously, he was exposed to jazz by his grandmother, who would wake young Uli in the middle of the night to listen to the broadcasts that featured what would come to be some of his biggest influences: Art Tatum, Oscar Peterson and Earl Hines. But one of the most direct influences was his own father, “who started teaching me improvisation since I was four, in a contrapuntal manner. He played all sorts of styles; classical, church organ and even gospel shows on the Hammond B-3. He had a very complete way of teaching. So when I heard jazz when I was young, it wasn’t so strange for me, it was just a different way of phrasing.”
The combination of rhythm and melody was exciting, and Uli was influenced as much by jazz drummers as he was by pianists. “The accents could be my personal feelings, or impressions from my personality. Because I had been improvising in the classical field, I just had to learn the new combinations of the blues and jazz chord progressions. Even though I eventually went to the Conservatory in Frankfurt, I never had a teacher in jazz. I had to listen to records and the radio to absorb it. I was also influenced by the power of the Blues, soul and R&B I heard in the clubs.”
THE FORMATIVE YEARS
During the 70’s Uli attended the Frankfurt Conservatory, studying classical piano and cello, while simultaneously leading a jazz band and accompanying jazz and modern dance classes. “I studied 100% classical music to make my degree during the day,” Uli remembers, “But after 7 pm I went to work in clubs— playing solo in piano bars, topless clubs, with other groups… I never slept! All this influenced my later years because I learned to develop something that is all mine, a music that only I could express.” Coupled with Uli’s staggering technique required for classical music and his love and exploration of the jazz idiom, Uli’s musical identity was formed, and soon made him a vibrant presence on the European jazz scene.
ULI TRAVELS THE GLOBE
After graduation, Uli spent time in Italy, playing in various groups, and eventually moved to Berlin in 1980 to work in the jazz clubs. It was during this time that Uli began to hook up with notable European saxophonists and started to tour a multitude of countries, including France, Spain, Italy and Israel. Uli also cultivated his formidable solo piano work, resulting in appearances at the Floez International Jazz Festival in 1985, the JazzFest Berlin, and a solo piano tour of the Balkan countries and the Mediterranean the next year. In 1987, Uli came to New York for the first time and performed at various clubs in Brooklyn, and at St. Peter’s Church in Manhattan.
But then the unthinkable happened. “I had an accident and hurt my hand. I couldn’t play for almost a year, I had operations and even a tendon transplant. All this forced me to concentrate on my concept of music, what I wanted to say on the piano. When I was young, I liked to fool around. My technique was good because of all the classical training. After my accident, I had to change some of my fingering, but I was able to regain my technical abilities. But in this one year, I learned more about music than I had learned in the last 20. The music was clear to me—I knew what I wanted to do, I knew what I wanted to play, and how to express myself musically.”
BACK TO WORK, AND BACK ON TOUR
After the year of recovery, Uli got back to work to establishing himself as a truly international artist. He appeared at the Hennessey Jazz Festival in New York City, and recorded a live CD with Joe Chambers and Cecil McBee at Sweet Basil’s in 1988. He led his own trio through 10 countries in the Caribbean, Central and South America, and appeared at the Montreaux Jazz Festival in 1989. Through the 90’s, Uli worked with such artists as saxophonists Steve Grossman and Don Menza, Abbey Lincoln, Hannibal Marvin Peterson, bassist Ed Schuller, Idris Muhammad, and recorded with vocalist Patricia Nomakosazana Dhlamini and saxophonist Johannes Barthelmes. Uli continued to tour internationally, often sponsored by the Goethe-Institut to represent Germany as a musical ambassador to Europe, East Africa, China, Thailand, Vietnam, Indonesia, the list goes on and on. In 1997, Uli formed his current European trio, featuring bassist Pepe Berns and drummer Thomas Alkier. But like before, the United States was still an open field, due to his extensive non-stop travel around the globe.
ULI MEETS ARKADIA
In April of 1999, Uli was in New York and dropped off a package at Arkadia Records, and spoke with Founder and CEO Bob Karcy. Impressed by what he heard and on subsequent CD’s that were sent, Karcy signed Uli to record for his independent label. But, as Uli describes as one of the pitfalls of touring, musicians can fall into a rut by playing the same things every night, and was worried about the new CD. “I’ve had very good engagements and have traveled around the world. But when you play very, very often for many audiences, you get a feel for what they like and don’t like. Some audiences expect you to play certain things, and sometimes musicians “play” their audiences. I told Bob about this, and he woke me up in a way. He said ‘Uli, play like you really feel music should be, intended by only you. Just play like you are.'
So in a way, he was the catalyst for the creation for the songs on “Rainmaker’s Dance”. He taught me to listen more to my inner voice.”
The CD is a celebration of the newly found breakthrough for music by Uli Lenz. Featuring the spectacular Cuban drummer Horacio “El Negro” Hernandez, the masterful bassist Ira Coleman with a special guest appearance by Arkadia labelmate, alto saxophonist T.K. Blue, Rainmaker’s Dance contains a menu of quirky, iconoclastic yet accessible original compositions and the standard My Foolish Heart. As Uli Lenz’s first recording to have world-wide distribution, it is a strong and comprehensive summation of his twenty years of international touring to diverse audiences, countries and people, all with one thing in common: the love of jazz. Arkadia is proud to have discovered what so many people already know: that Uli Lenz is a creative force of nature and his music touches us all.
PRESS AND QUOTES:
”With an amiable smile he moved to the piano and when he sat down to do what has remained dear to his life, it was one of the most scintillating high-spirited performances that left the audience lost in a sea of cool ecstasy.”--Ochieng' Ogodo, East African Standard
”His penchant for resonant tonal clusters and deep, sometimes somber chording sets him apart from the copycat neoclassical bop breed.”--Hot House
”…a piano which sounds like a whole orchestra.”--RIAS Berlin
”…the precision with which Uli Lenz actually seems to imprint those racy, intense figures into the
piano keys is almost unbelievable.”--Rheinpfalz Magazine
"…with a sovereignty, a riveting and at the same time, brittle virtuosity, he works his way through the history of jazz piano.“--SZ Magazine
”…Lenz was a badass one-man rhythm section…displayed an impeccable command of the keyboard, with a keen sense of dynamics and sensitivity to delicate passages akin to a classical player's.”--Manila Times
”…he is a magician.“--Rolling Stone
SELECTED DISCOGRAPHY
Arkadia Jazz 71031
RAINMAKER’S DANCE (2001)
Uli Lenz, piano; Ira Coleman, bass; “El Negro” Hernandez, drums, T.K. Blue, alto saxophone
Enja 6008
LIVE AT SWEET BASIL (1989)
Uli Lenz, piano; Cecil McBee, bass; Joe Chambers, drums
Enja 5009
MIDNIGHT CANDY (1986)
Uli Lenz, solo piano
Tutu 888180
ECHOES OF MANDELA (1997)
Uli Lenz, piano; Ed Schuller, bass; Victor Jones, drums
Tutu 888144
TROUBLE IN PARADISE (1993)
Uli Lenz, piano; Nomakosazana Dhlamini, vocals
Konnex 5057
TRANE'S TREE (1993)
Uli Lenz, piano; Johannes Barthelmes, tenor saxophone
Konnex 5035
KONZERT DER VERLORENEN SÖHNE (1992)
Uli Lenz, piano; Johannes Barthelmes, tenor and soprano saxophone
Bellaphon 45100
LOVE CHANNEL (1995)
Uli Lenz, solo piano
B&W 005/006
LIVE AT THE MONTREUX MUSIC FESTIVAL (1991)
Uli Lenz, piano; Günter Lenz, bass; Allen Blairman; drums
ARKADIA JAZZ
Uli Lenz, the dynamic and gifted German pianist whose playful sense of time, melody and composition has already been heard around the globe, is one of the new discoveries in jazz. He’s been on the European scene for over 20 years and has constantly toured Europe, Africa, South America, The Caribbean, The Middle East, The South Pacific, China and Southeast Asia, and has recorded over 8 albums. Lenz’s appearances in the United States have been usually just in New York--but all that is about to change with the release of his first Arkadia Jazz CD, Rainmaker’s Dance.
