Does anybody remember where and when Bossa Nova came to life?

Was it Joao Gilberto, sitting in a street café with heavy-hearted thoughts going through his head, when a girl with never-ending legs passed him and inspired him to write the world hit “The Girl From Ipanema”?

Jazzamor discovered the Bossa Nova in the mid 90’s – not in Rio, but in Frankfurt, Germany. Back then, both members were still part of a formation called >4 To The Bar<, playing music of the 60’s and touring around Europe.

Both musicians were ahead of musical time, because only after the late 90’s did DJ’s start playing Bossa Nova tracks again coupling the style with new grooves.

In the year 2000 the decision fell to start off as JAZZAMOR and to start working on an album in a studio. The idea was to compose own songs and not just using fragments of melodies. Their songs turned out to be a mix of old and new grooves and sound variations.

Roland Grosch, sound-designer, realized that most of the time less is much more and kultivated his arrangements to the minimum. Best examples are the tracks “Summertime”, “Berimbou”, “Way Back” and “Save The Night” with an interplay of Fender Rhodes, Piano, Percussion and Vocals. It leaves the listener room to “move” and a positive and relaxing mood. The young-sounding fine voice of Brigitte Mischke is like “the salt in the soup” and makes a perfect sound. Direct and genuine, clear and pure, a sound structure between Jazz and Lounge.

Jazz or no Jazz?

Minimalistic arrangements, 60’s Bossa-Nova guitars, electronic sounds. Piano, double bass and percussion. Simple, some times Pop style melodies framed by soundsgames … Jazz?

No – Jazzamor!

With this creative concept, Jazzamor was founded in 2001 by Bettina Mischke and Roland Grosch.

In 2002 their debut album “Lazy Sunday Afternoon” (BF 39850682) was released. Loungy atmosphere, Bossa Nova with own feelings and melodies. Tracks flow into each other. Music for a … Lazy Sunday Afternoon.

“ … This is the music, I’ve always been looking for: melodies without being monotonous, relaxing without being boring, rhythmic without being penetrating, modern without being worn out, classic (60’s style) without sounding old-fashion, … “ (Amazon Customer Review)

Now in Spring 2004, their second album “A Piece Of My Heart” is being released. With this production, Jazzamor played even more with the contrast between electro-sounds and live instruments. Besides 12 self composed tracks, Jazzamor shows the development of their particular sound in the 2 cover versions from Bill Withers “Ain’t No Sunshine” and Jamiroquais “Space Cowboy”. Besides English and Portugese lyrics, they also have a track in French and German.

Jazzamor shows a piece of their heart.

With their new album „Lucent Touch“ Jazzamor also presents their new sound. Smooth jazz and electronic music with the bossa feeling in the well known style of Blue Note. Cool and minimalistic at once.

„Lucent Touch“, the sixth album has become jazzier. Bossanova steps back and lets Jazz have more leeway. However, the drum sounds still occur in the foreground, because Jazzamor can and do not want to hide their electronic side.

Even after five releases, it is still difficult to classify the sound of Jazzamor, consisting of the wonderful voice of Bettina Ventzki-Mischke and pianist Roland Grosch. Fifteen tracks where Jazz, Electronic, Bossanova and Latin Lounge jack in the hand-pass. „Lucent Touch“ stands for a very own unique style.

„Lucent Touch“ was lyrically marked by many personal experiences. Life and death, grief and joy – all of which sometimes lie so close and exactly these feelings were transferred into the songs.

In true team work, many of the songs were created directly in the studio. Both Bettina and Roland were directly involved in all development processes – from sound to text and production. However, each had their own „priorities“: while Bettina Ventzki-Mischke is the one that breathes life to the texts, Roland Grosch is the music creator and sound designer: he is master of the minimalist arrangements and electronic sounds, he outlines the catchy melodies with sound gimmicks.

Through further adaption, it sometimes seems that Jazzamor works with loops, but drums and percussion are actually recorded from beginning to end.

Also on board „Lucent Touch“ was again lyricist Mary Applegate, who let her creativity flow into the track „Snowflakes In Rio“. Brand new is song writer Matthias Steingass, who brings the male perspective into a total of eight songs.