Why concerts with Götz Alsmann and the band are so important – Bad Sachsa – Current News

Being excited about Götz Alsmann and his band is like carrying owls to Athens. You just have to like this collection. why? I want to make that clear with a bird feeder.

Götz Alsmann and the band guarantee the best entertainment. They deliver twice this weekend and overdeliver. Frequent aggressors sit in the audience at monastery feasts. They know what to expect from Alsmann and they have exceeded their expectations in every respect.

They are kind of like dinosaurs, survivors of the golden days of plays and Saturday night shows. Götz Alsmann is certainly the last of its kind and above all by its quality. He is an artist and perhaps unique in his complexity. He masters what he does in a manner that is near perfection. The best part? It makes it easy and informal.

The term party is not enough. Götz Alsmann gives a full presentation. There is not only music, but a journey into contemporary history in poetry and prose. Götz Alsmann always manages to run mental cinema in the audience.

At the beginning of the second set, when he wanders through the night through the dark night to find a solution to all the musicians’ problems in a forgotten cemetery, the listener can almost feel the thundering wind and the raucous rain. The artists and audience are a well-established team. Listeners know where the “ooh” and “ahh” are without guidance.

Junior technicians instead of sloping pigs

Alsmann does not belong to the species “Rampensau”. He is a filigree artist. The limit is clear. There is no pandering to the public. You stick to “you” and “ladies and gentlemen”.

The music is completed only by moderation between the pieces. Quail Gotze is an expert on the spoken word. He builds stylized verbal monsters and knows the associations he makes in the hall. Because he knows his audience. When he shoots scenes from movies that have long since expired, he and his audience share childhood memories. This creates the bond between the artist and the hall.

Some of his teammates can do this, too. But Alsmann’s art is to make the audience feel that what they are experiencing is unique and valid only for tonight. Walkenried’s architecture does its part. The church bell rings twice in the programme. This really only happens at monastery parties.

The overall package is a mixture of music, memories and clowning at the highest level, deeply seasoned. But it never turns out to be comical, because Alsmann and his audience radiate mastery, laugh at themselves and can laugh at themselves.

program with love

The program is called “Love” and collects songs on the first theme of popular music about 40 years ago. There are songs about happy, unhappy and unsuccessful love relationships. The arrangements revolve around what was considered an outlier in the mid-20th century. There are plenty of mambo, rumba, swing and blues, and the bossa nova is always good.

However, some habits will be tested. Sinatra’s “Summerwind” comes in the form of rumba and “You Gotta Play the Piano” shifts to rhythm and blues, including a Jerry Lee Lewis-style solo.

It does not matter what Alsmann and the band play at the monastery parties that evening, the creed stands above all: “It must swing, it must be fun.” There is a lot of it. Herein lies the quality of this group. The boys enjoy doing what they do and they carry the audience with them.

Aside from drummer Dominic Hahn, all the musicians are old friends. The core of the band has been playing together for a long time and that’s why he feels light.

Sovereignty and Sovereignty

Götz Alsmann slipped into the role of “Primus inter pares”. Playing on the keyboard is just as important as Altfrid Sicking on vibraphones or Markus Passlik as percussionist. It sets an expressive dance with the rumba rattle and lets the Ingo Senst shine on the bass. Only in encore did Alsmann appear on stage as a soloist with the ukulele.

No matter what they play, it follows the concept that made music so easy in the mid-20th century. Two big boys with similar musical ideas meet. You develop topics together, diversify them, and if no one is lost in the herb garden, then eventually everyone gets back together. For this to work, it would require a great deal of dominion and sovereignty, which not everyone has anymore.

That is why evenings with Alsmann and the band are so important, no matter what they are playing.