International Press

L ́ascolto di questa bella incisione di mainstream ci permette di fare conoscenza con un gruppo tedesco molto interessante guidato dal trombettista Peter Protschka. È un musicista molto ispirato specialmente nella situazioni dal vivo, caricato di adremalina da tutto quello che gira intorno al concerto, le file in autostrada, l ́imprevisto, il soundcheck fatto appena scesi dalla macchina senza il tempo di andare a farsi una doccia. Eppure non fa niente, anche Rick Margitza, il sassofonisa tenore che fa parte della band, non se ne lamenta più di tanto nelle liner notes, si va, si suona, si cerca il momento magico con il pubblico, che è ciò che distingue un musicista jazz. In una situazione simile a quella descritta, dopo diverse ingorghi in autostrda ma comunque arrivati in tempo al Bird ́s Eye, club di Basilea, sono colti ottimamente dalla regisrazione. La ritmica è costituita da Martin Sasse al pianoforte, Martin GJakonowski al contrabbasso e Tobias Backhaus alla batteria, tutti musicisti con una lunga esperienza nel genere mainstream. Tre composizioni sono del leader, a suo agio in un linguaggio hard bop, caloroso ed allo stesso tempo logico nei suoi assoli, insieme al famoso standard Cry Me a River in cui alla fine del brano Margitza si esisbisce da solo, senza alcun accompagnamento, fino al ritorno dei compagni per il tema. Due composizioni sono del sassofonista americano: Witches e Hands of Time La band, forgiata dai tour insieme per l`Europa e dai concerti è un`unità perfettamente rodata che sa esprimersi con personalità nel linguaggio bop e post bop e che nelle composizioni del leader e di Margitza ha trovato il mezzo adeguato per farlo. Il pubblico applaude, coinvolto dal momento magico cui assiste, una magiá che si trasmette anche su disco insieme all ́entusiasmo dei musicisti., October 2015


The program is mostly mid to lower-upper tempo and I think most people, if they didn’t know, would be hard pressed to know who is the leader: The leader has a nice, darker Freddie Hubbard sound. A very fine bop date.

Cadence Magazine, October 2015


PETER PROTSCHKA QUINTET/Twilight Jamboree: You can't call a player born in 1977 a youngster anymore, but this post bop era cat who was born well after Miles made his turn in the 60s shows his love and appreciation of post bop so much so that Rick Margitza is part of his touring band, almost an insurance policy to make sure Miles smiles down on his trumpet playing. Not at all sounding like a fan that missed the boat, Protschka brings the daddio in fine style. On a live date that perfectly captures the smoky, late night club feel, it's no wonder that steam punk hipsters dig this as much as their cool grandparents. Killer stuff done just right, and then some., October 2015


For a jazz trumpeter, being the only horn in the ensemble often represents a formidable challenge. Take it from one who knows: sustaining powers of invention through a whole program without a front line partner to bounce style and content off , not to mention the pure physical stamina involved, can be a daunting task for those unprepared to take the role on. Not to just succeed, but to shine in the quartet format, is the mark of a assured and mature talent on the instrument, one worthy of paying notice to. Such a talent is exhibited in the present recording that you hold here by a most assured and eloquent new voice on the jazz scene, trumpeter Peter Protschka. 

Building on the tradition of the contemporary masters of the jazz trumpet, Peter essays his own voice in this eminently listenable program with rhythmic verve, melodic clarity and harmonic precision, along with the palpable emotion that his tart, expressive sound provides. He is able indeed to sustain an inventive flow throughout this program, as he spurs on his partners in his quartet to impressive efforts. The band has a real group sound and can stretch out with the sort of interaction that shows, they're a real unit and not just a put together "rhythm section". The accomplished original compositions that make up this recording convey a welcome variety of moods and densities that make the whole record a pleasure to listen to from beginning to the end. 

I'm very happy to make the musical acquaintance of Peter Protschka in such a enjoyable way! I'm looking forward to getting to know him better, as we encounter each other on the international bandstand, as I know we will and as always occurs among kindred spirits. Chances are that after knowing Peter's playing and music, you'll be a kindred spirit as well.

Brian Lynch, trumpet, original liner notes "Kindred Spirits", 2012



If I listen to your music, it really sounds great and I can hear a lot of freshness and energy as well as I like the musical direction you choose. The rhythm section really compliments the soloists and especially you as a leader make the music direct in a very personnel way.

Alex Sipiagin, trumpet, 2012


Peter Protschka is a triple threat: trumpeter, flugelhornist and composer. The CD 'Kindred Spirits` features the best young musicians around, all of whom are extremely compatible with each other. Peter has a beautiful sound on both horns and really has developed a personal conception in both his writing and playing. Highly recommended....great CD Peter!

Randy Brecker, trumpet, 2012


Peter Protschka has put together an impressive new album. His compositions are well-conceived, as are his impressive solo improvisations. His warm sound is appealing, and the rhythm section brings these post-bop pieces to life convincingly. Well done!

John Marshall, trumpet, 2012



Peter Protschka, Kindred Spirits:

Strong trumpet-led quartet session. Nice mix of post- and hard-bop, so it should appeal to both old schoolers and modern jazz fans alike. The compositions are certainly enjoyable, though it’s the quality musicianship and interplay that makes this a winning album.

by Dave Sumner, 2012


Peter Protschka, Point of view:

Het album ‘Point of View’ voldoet aan de huidige trend: jonge musici, de leider schrijft alle stukken en die composi-

ties hebben ook nog een hoog intellectueel gehalte. Het kwintet wordt gevormd door leider Peter Protschka (Keu-

len, 1977, trompet en flugelhorn), Paul Heller (tenorsaxofoon), Rainer Böhm (piano), Thomas Stabenow (bas) en

Dejan Terzic (drums). Protschka studeerde in Aken, Keulen en Mannheim, speelt in wel zes bands en is daarnaast 

ook regelmatig in diverse bigbands te horen. In het eerste stuk gaat het direct vol gas. In up-tempo wordt ‘The

Dutchmen’ gespeeld. Verwijst de trompettist hier naar zijn Nederlandse leraren Ack van Rooijen, Jarmo Hogendijk

en Eric Vloeimans? In ‘Blues For Jo’ speelt hij met een gestopte trompet. De titel verklaart zichzelf: mevrouw

Protschka heet Johanna. Zijn muziek laveert tussen hardbop en Amerikaanse straightahead-jazz. Protschka heeft

een mooie toon, die soms doet denken aan Kenny Wheeler, vooral op flugelhorn. Hij noemt zijn eigen muziek

‘compromisloos, energiek, met mooie soli’ en zegt dan in de linernotes dat dit soort muziek in huidige Amerikaanse

opnamen maar zelden te horen is. Dat laatste is een prima onderwerp voor een pittige discussie. Wat overeind blijft

is de kwaliteit van dit Duitse product. Met zijn vijven tonen ze dat jazz een zuivere kunstuiting is. En waar die

muziek vandaan komt, ach, dat is een ‘point of view’.

by Peter J. Korten, 2008