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B:jazz
by IG Jazz Berlin
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From 10 epsHosts
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Recent episodes
Living Wage for Artists
Jul 30, 2026
Unknown duration
collective improv(e)ment with Dumama
Jun 26, 2026
collective improv(e)ment mit Vincent Bababoutilabo
Jun 25, 2026
54m 00s
collective improv(e)ment mit Laura Robles
Jun 24, 2026
collective improv(e)ment mit Uli Kempendorff
Jun 23, 2026
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| Date | Episode | Topics | Guests | Brands | Places | Keywords | Sponsor | Length | |
|---|---|---|---|---|---|---|---|---|---|
| 7/30/26 | Living Wage for Artists | In this podcast episode, we talk to Dublin-based inclusive violinist and multi-genre artist Jane Hackett about Ireland's Basic Income for the Arts Scheme, the benefits it brought to Jane and other artists' work and wellbeing, the broader impact on the arts sector, and the socioeconomic case for schemes like it being implemented further afield. We also discuss how Jane reinvented her practice around inclusivity and access following a diagnosis of Functional Neurological Disorder (FND), and the fairness of non-means tested lottery-based funding applications. Host and Editor: James Banner Music: "Zulassen" by Windisch Quartett All episodes: www.ig-jazz-berlin.de | — | ||||||
| 6/26/26 | improvisationcollaboration+4 | Gugulethu Duma | Jazzwoche BerlinWindisch Quartett | South AfricaBerlin | collective improv(e)mentimprovisation+5 | — | — | ||
| 6/25/26 | jazzimprovisation+5 | Vincent Bababoutilabo | Andromeda Mega Express OrchestraIG Jazz Berlin+1 | — | jazzimprovisation+6 | — | 54m 00s | ||
| 6/24/26 | collective improvisationBerlin jazz scene+3 | Laura Robles | IG Jazz BerlinStatistik der Lust+1 | — | jazzimprovisation+5 | — | — | ||
| 6/23/26 | jazzcollective improvisation+3 | Uli Kempendorff | IG Jazz BerlinWindisch Quartett+1 | — | jazzimprovisation+5 | — | — | ||
| 1/7/26 | musiccomposition+4 | Ingrid Laubrock | IG Jazz Berlin | Konzerthaus BerlinMaarwegstudio2 Köln | Ingrid Laubrockjazz+5 | — | 48m 16s | ||
| 1/7/26 | musicjazz+4 | Julia Hülsmann | IG Jazz Berlinzentrum under construction | Berlin | Julia Hülsmannjazz+5 | — | 1h 30m 17s | ||
| 12/17/25 | jazzimprovised music+3 | Christian Lillinger | Deutsche JazzunionIG Jazz Berlin+3 | BerlinKonzerthaus Berlin | jazzimprovised music+5 | — | — | ||
| 7/4/25 | cultural fundingjazz scene+3 | Linda Ann Davis | IG Jazz Berlin#BerlinIstKultur+1 | Berlin | Berlinjazz+5 | — | 28m 17s | ||
| 7/2/25 | curationcollaboration+4 | Elisa Erkelenz | Outernationalpantopia-music.org | — | curationjazz+4 | — | 43m 41s | ||
Want analysis for the episodes below?Free for Pro Submit a request, we'll have your selected episodes analyzed within an hour. Free, at no cost to you, for Pro users. | |||||||||
| 6/30/25 | German reunificationjazz music+3 | Thomas Borgmann | — | Berlin | jazzimprovisation+3 | — | 42m 01s | ||
| 6/24/25 | DIY - communities, roles, challenges, responsibilities | On this podcast episode, I’m talking to Chris Pitsiokos, musician living in Berlin and member of the 7 person collective running Richten25, a venue in Wedding. Amongst other things, we talk about the role of DIY venues in the scene and challenges faced by such places, the role community plays in the jazz and improvised music scene, the value of live music, as well as which responsibilities both musicians and venues have going forward in order to create a sustainable basis for the live presentation of this music. | — | ||||||
| 6/7/24 | Freedom for the Mind, Part 2 | In a special edition of B:jazz, I'm really happy to be able to present part 2 of an interview from Jazzwoche 2023 with Michaël Attias. We discuss finding the mystery within the fundamentals, keeping humble intentions, urgency, commitment and purpose through performance, plus how socialisation affects the approaches of musicians based in Europe versus New York. We also talk about the possibilities and drive created by artistic resources and archives alongside the desire and focus to experience it personally, extrinsic versus intrinsic motivation, branding and pressure on younger generations, how communication happens with audiences, growth through self-promotion via publication, and the difference between making political music and making music politically and locally. | — | ||||||
| 6/6/24 | Visibility: Journalism | In episode 26 of B:jazz, I am discussing visibility in the context of music journalism with journalist, musician, curator and moderator Sophie Emilie Beha. We discuss the importance of open minded listening and the responsibilities of moderating, curating and programming, actual visible change versus tokenism and diversity washing, discovering our own blind spots and leaning into discomfort. We also talk about balancing entertainment and information mediums by telling stories, institutional attitudes to visibility and diversity, and the effectiveness of EDI panel discussions. | — | ||||||
| 6/4/24 | Visibility: Union Representation | In episode 25 of B:jazz, I talk to Camille Buscot, manager of the Deutsche Jazzunion, about the relevance and importance of unions. How do unions act as the contact point between the scene, institutions and politicans? What are some of the previous successes and upcoming challenges of the unions, and how do they work to represent the interests and lives of their members? We discuss how conflict can be a catalyst for action, the importance of diversity of experience, and the balance of individual ethics with community action. | — | ||||||
| 5/7/24 | Visibility: Academisation of Jazz | Episode 24 of B:jazz features vocalist, composer and teacher Cansu Tanrıkulu. We discuss the academisation of jazz in the context of visibility, the theme for Jazzwoche Berlin this year. How are both historic and contemporary figures included in teaching a new and often younger generation of future professional jazz and improvising musicians, what are the positives and negatives of the music moving into the academic space? We also discuss how important role models are to students, balancing what is required for a course of study with what is most tailored for individual development, and how educators can make their students feel seen, heard and visible. | — | ||||||
| 4/23/24 | Jazz und improvisierte Musik an dt. Musikhochschulen, Teil 3, Wie lehrt es sich mit Lehrauftrag? | Im 3. Teil unserer Serie Jazz und improvisierte Musik an deutschen Musikhochschulen, schauen wir uns die Situation der Lehrbeauftragten an. Welche Vor- und Nachteile hat diese Beschäftigungsform für sie und welche Verbesserungen oder Alternativen sind dringend notwendig? Die Sängerin, Komponistin und Arrangeurin Winnie Brückner arbeitet im Lehrauftrag an der UdK und kann uns aus dieser Perspektive berichten. -- https://www.winniebrueckner.de [email protected] https://www.ig-jazz-berlin.de/jazzwoche-berlin/ https://raumportal.kulturraeume.berlin/de/ausschreibungen/eda78a27-2a31-4307-be9c-bed523f04528/ https://raumportal.kulturraeume.berlin/de/ausschreibungen/aeac5d37-f866-45a9-aa43-c6945dfb6b12/ https://www.koalition-der-freien-szene-berlin.de/alte-muenze-gemeinsam-neu-praegen/ https://www.radialsystem.de/de/veranstaltungen/stop-over-2-improvising-a-concert/?date=1714327200 https://uni-sono.org https://youtu.be/F94g4Rdhgqo?si=J_FoS1xcq1zXtyNN https://www.bklm.org https://docs.google.com/spreadsheets/d/1CzqAVZ6Sn_SacZ2PxVuKrgEjBC1_YRyy8IIUVrJHLn4/edit?usp=sharing | — | ||||||
| 4/9/24 | Continuations and beginnings | In episode 22, I talk to composer and musician Cassie Kinoshi. A recent arrival to Berlin, we discuss what still makes Berlin an attractive meeting and development place for international jazz and improvising musicians, sociomusical differences between Berlin and other UK and EU cities, working in interdiscplinary contexts, the practical experiences of emigration, viewing the move with an open mind and seeing it as a learning experience. | — | ||||||
| 3/12/24 | Photography and Improvised Music | In the 20th episode of B:jazz, I talk to concert photographer Cristina Marx about her documentation of the Berlin scene, her love for and the necessity of music, community and exchange, the importance of a present and accessible music scene, the audience perspective on jazz and improvised music and feeling welcome in spaces, as well as the necessity of meeting places for creative music such as Sowieso, Miss Hecker and Au Topsi Pohl. We also discuss the archival nature of film and music, Berlin door gigs, and how labels and film companies can impact the immediacy and representation of artists’ work. | — | ||||||
| 2/28/24 | Stop Over #1 - Improvising a Zentrum, über die erste Zwischenlandung | Heute spreche ich mit dem Pianisten, Arrangeur und Komponisten Marc Schmolling über das Residenz Programm Stop Over an dem er als Künstler im Februar 2024 eine spannende Woche in der Alten Münze verlebt hat. Wie fühlt es sich an in einem möglichen Zentrum für Jazz und improvisierte Musik heimelig zu werden? Welchen Austausch gab es und was braucht es noch für einen zukünftigen Standort? Das erzählt mir Marc im Interview aus seiner Perspektive. | — | ||||||
| 2/13/24 | Collectives and Spaces | In episode 18 of B:jazz, I talk to trumpet player, composer and improviser Brad Henkel about musician collectives in Berlin and the US, the legendary Schillerkiez venue and space Sowieso, the importance of local spaces for the jazz and improvised music scene, the impact of modernisation and gentrification on project spaces and his involvement and experience of the Stop Over residency at the Alte Münze. | — | ||||||
| 1/31/24 | Jazz und Improvisierte Musik an deutschen Musikhochschulen Teil 2: Studentische Perspektive | Heute spreche ich mit der Klavierstudentin Wolle in einer weiteren Folge zum Thema Jazz und improvisierte Musik an dt. Musikhochschulen über ihren Weg zum und im Studium. Welche Erwartungen haben junge Studierende an das Hochschulstudium, in welchen Strukturen finden sie sich wieder und welche Inhalte braucht es ggf. noch, um eine erfolgreiche künstlerische Karriere anzustoßen? Ich freue mich über eine studentische Perspektive zu diesem Thema. | — | ||||||
| 12/19/23 | Old Time Music | In the 16th episode of B:jazz, we talk to musician Weston Olencki about their genre crossing electro-acoustic work, the role of AI and machine listening in music, career compartmentalisation, their connection to the sociomusical and cultural venacular of the American South, musical and social origins and their infuence on conceptual development, and the meaning behind sound. | — | ||||||
| 12/5/23 | Jazz Jam Sessions | In der 15. Ausgabe B:jazz widmen wir uns dem Thema Jazz Jam Sessions. Was macht diese Art des musikalischen Zusammenkommens aus? Wie wichtig ist die Sessionkultur für die Szene des Jazz und der improvisierten Musik in einer Stadt wie Berlin und für die Weiterentwicklung der eigenen Musik? Wo findet das Ganze statt und wie kommt man dazu vielleicht selbst eine Session an den Start zu bringen? Darüber spreche ich mit meiner heutigen Interviewpartnerin, der Saxophonistin und Komponistin Charlotte Joerges, die selbst seit einigen Jahren Host der Blue Moonday Session ist. Weiterführende Links: https://www.ig-jazz-berlin.de/ https://panel.zentrum-under-construction.berlin/media/pages/artikel/stellenausschreibung-projektleitung-geschaeftsfuehrer-in-spe/06ccc0359e-1701070040/stellenausschreibung-projektleitung-gf-in-spe.pdf https://www.deutsche-jazzunion.de/stellenausschreibung-geschaeftsfuehrung/ https://charlotte-joerges.com | — | ||||||
| 11/21/23 | Texts and Music | In episode 14 of B:jazz, I talk to musician, author and composer Maria Reich about the relationship between texts and music, the changing role of improvisation in the classical concert, as well as structures, formalities and conventions around music performance and education. | — | ||||||
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