The mod-jazz quartet Hamburg Spinners returns with their third LP, “Im Schwarzwald”, a breezy, groove-laden tour de force that pays homage to the legendary sound of the Hammond B-3 while drawing deeply from the well of soul, R&B, and mod jazz. Recorded live in January 2024 at the storied MPS studios in Villingen-Schwenningen, the album captures the energy and organic interplay of the band, layering precision with raw spontaneity—just as it should be for this style of music.
At the heart of the quartet is Carsten ‘Erobique’ Meyer, whose distinct touch on the Hammond B-3 organ provides a soulful backbone throughout the record. With every note, he channels the spirit of Booker T. Jones and Georgie Fame, blending melodic flair with rhythmic drive, creating an inviting yet nuanced soundscape.
From the opening track “Heisser Schlitten,” the album immediately sets the tone. Meyer’s swirling organ licks dance around Dennis Rux’s guitar, which blends rhythmic chops with bluesy, understated solos. Rux, a veteran of the Hamburg music scene, brings a warm, vintage tone to the project that recalls the best of ‘60s garage and soul. His playing on tracks like “Sabamobil” and “Trachtrock” provide a perfect complement to Meyer’s organ lines, lending the tunes a smoky, retro vibe without feeling like a pastiche.
Then there’s David Nesselhauf, whose bass lines—fat, nimble, and always in the pocket—anchor the entire album. His interplay with drummer Lucas Kochbeck creates a rhythm section as tight as it is dynamic, propelling tracks like “Titisee-Express” and “Der Bremer” with a pulsating energy that pushes the music forward, even during its more laid-back moments.
Kochbeck’s drums are as crisp as ever, with every cymbal hit and snare crack landing with pinpoint precision. His background in projects like Diazpora and Bacao Rhythm & Steel Band is evident here, bringing a deep understanding of groove and space to the album. Whether it’s the upbeat swagger of “Freudenstadt 15M” or the subtle shuffles on “Huschdegudsl,” Kochbeck’s versatility shines throughout, giving the album an added layer of rhythmic complexity.
Standout tracks include the laid-back groove of “Bajazz,” which rides a smooth rhythm while Meyer and Rux trade off solos with effortless precision. On “Kunstkoepfe,” the band plays with a sense of funky ease, allowing Nesselhauf’s bass to take the lead.
Recorded in the MPS studios—hallowed ground for any jazz aficionado—Im Schwarzwald captures the band’s sound in its rawest, most authentic form. Only minor post-production touches, such as a few well-placed shouts and handclaps, were added after the fact, ensuring that the album’s live feel remained intact. This recording approach harks back to the classic Stax and Prestige sessions, where spontaneity and musicianship reigned supreme.
With Im Schwarzwald the Hamburg Spinners have delivered a record that’s offering a perfect blend of soul-soaked melodies, rhythmic complexity, and a palpable sense of joy. Im Schwarzwald is a love letter to the golden era of instrumental soul, but with its eyes firmly set on the future. It’s a record that swings, grooves, and, most importantly, lives.
