{"id":48,"date":"2020-05-13T14:21:12","date_gmt":"2020-05-13T14:21:12","guid":{"rendered":"https:\/\/potsalotsa.com\/?page_id=48"},"modified":"2025-10-23T11:55:37","modified_gmt":"2025-10-23T11:55:37","slug":"presse","status":"publish","type":"page","link":"https:\/\/potsalotsa.com\/en\/presse\/","title":{"rendered":"Press"},"content":{"rendered":"\n

Downbeat USA Annual Downbeat Critics Poll – July<\/strong>
\u2022 Silke 4th in Rising Star Alto Saxophonist of Year
\u2022 Potsa Lotsa XL 4th in Rising Star Large Ensemble of the Year<\/p>\n\n\n\n

\u00bbAdd to this an exemplary production and you have a truly beautiful result. An obvious candidate for foreign release of the year.\u201c Peter Danstrup, All that. DK (5 stars<\/strong>)\u00ab<\/p>All that. DK<\/a>, Peter Danstrup, 8th June, 2025<\/em><\/cite><\/blockquote>\n\n\n\n

\u00bbAmoeba’s Dance” will make you want to dance.\u00ab<\/p>Jazz Mania, BE, Eric Therer<\/em>, 2025<\/em><\/cite><\/blockquote>\n\n\n\n

\u00bbHere is the tour de force of what is, without a doubt, one of the best large European formats, in the direct line of Berlin.\u00ab<\/p>Citizen Jazz, FR, Franpi Barriaux<\/em>, 2025<\/em><\/cite><\/blockquote>\n\n\n\n

\u00bbVor allem aber durchzieht ein sehr beweglicher, immer beschwingter rhythmischer Fluss die nach verschiedenen Erscheinungsformen der Wechseltierchen benannten achtzehn Episoden der Suite. Supi!\u00ab<\/p>FAZ, Tol<\/em>, 2025<\/em><\/cite><\/blockquote>\n\n\n\n

\u00bbHigh-flying!\u00ab<\/p>Culture Jazz, FR, Jean Buzelin<\/em>, 2025<\/em><\/cite><\/blockquote>\n\n\n\n

\u00bbAmoeba’s Dance sends multicolored lanterns and bursts of light into our cortex.\u00ab<\/p>Silence and Sound, Roland Torres<\/em>, 2025<\/em><\/cite><\/blockquote>\n\n\n\n

\u00bbThe compositions strike a perfect balance between the greatest possible freedom for all actors and the author\u2019s creative intention. They evoke a teeming organic matter from which each individual reflects and sinks back, each self-sufficient. (\u2026) that undoubtedly deserves the maximum number of review stars!\u201c (5 stars)<\/strong>\u00ab<\/p>SK Jazz, SK, J\u00e1n Hoce<\/em>k, 2025<\/em><\/cite><\/blockquote>\n\n\n\n

\u00bbSilke Eberhard is by far one of the most brilliant yet technically challenging of all modern jazz composers .. \u00ab<\/p>The Art Music Lounge,<\/a> Lynn Bailey, 29th December 2023<\/em><\/em><\/cite><\/blockquote>\n\n\n\n

\u00bbEberhard’s compositions\u2014bold in structure, fluid in dynamics, unpredictable in the best possible ways\u2014demand close listening. For the patient, those prepared for a long seduction, repeated listening will gradually unveil a wealth of riches.\u00ab <\/p>About Jazz, Ian Patterson<\/em><\/cite><\/blockquote>\n\n\n\n

\u00bbThe evolution of the Potsa Lotsa ensemble could well be a metaphor for the evolution of the modern jazz and improvised music scene as a whole. This album grabbed me tight with the very first notes and never let go.\u00ab<\/p>Best of Bandcamp, Dave Sumner (on Gaya 2022)<\/em><\/cite><\/blockquote>\n\n\n\n

\u00bbrings with enigmatic melodies, provocative harmonies and bursts of street-vibe hustle.\u00ab<\/p>The Guardian, John Fordham<\/em>, March 18, 2022<\/cite><\/blockquote>\n\n\n\n

\u00bbOn est ici dans la rencontre entre deux univers\u2026une v\u00e9ritable complicit\u00e9 harmonique et humaine.\u00ab<\/p>Jazz Mania, by Eric Therer, <\/em>May, 2022<\/cite><\/blockquote>\n\n\n\n

Amoeba\u00b4s Dance<\/h2>\n\n\n\n

“on Amoeba\u00b4s Dance (Trouble in the East), prize-winning Berlin saxophonist and composer Silke Eberhard\u00b4s enlarged Potsa Lotsa group makes vividly creative use of their leader\u00b4s intricately structured but constantly provocative pieces.” The Guardian<\/a>, John Fordham, May 30 2025<\/em><\/p>\n\n\n\n

“a massive work of European avant-jazz full of finesse and fluidity” Rocking GR,<\/a> Antonis Kalamoutsos, May 29, 2025<\/em><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Gaya<\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n

\u00bbEin Album, das klingt wie \u203athe real thing\u2039. Die Berliner Saxofonistin Silke Eberhard hat mit einer kongenialen Formation ein starkes Album vorgelegt.\u00ab
dpa<\/em>, May 15, 2020<\/span><\/p>\n\n\n\n

\u00bbThis is an absolutely superb album in every way: conception, scoring, execution and solos. I simply cannot praise it highly enough.\u00ab 
Artmusiclounge<\/em>, Lynn Ren\u00e9 Bayley, 2020<\/span><\/p>\n\n\n\n

\u00bbDas originelle Eric-Dolphy-Projekt der Berliner Gruppe Potsa Lotsa geh\u00f6rte zu den Highlights des Jazzfests (Berlin).\u00ab FONO FORUM<\/em>, Mario Vogt, Januar 2015<\/span><\/p>\n\n\n\n

\u00bbKeine Hochzeit und ein Todestag \u2014 Den arbeitsreichsten Weg der Dolphy-Verehrung ging die Altsaxophonistin und Bassklarinettistin Silke Eberhard. Sie hatte n\u00e4mlich ein unvollendetes Werk Dolphys entdeckt \u2014 die Love Suite<\/em> [\u2026]. Krause Chor\u00e4le, fahle Kontrapunkte, Ger\u00e4usche, vielschichtige Klang- und Struktur-\u00dcberlagerungen, klare Jazzphrasierungen, die vom Himmel fielen, wenn man sich ihrer gerade entw\u00f6hnt hatte, und viel (nach eigener Aussage nie bewusst gesuchte) Neue Musik des ausgehenden zwanzigsten Jahrhunderts waren das Material f\u00fcr dieses denkw\u00fcrdige Ereignis.\u00ab Frankfurter Allgemeine Zeitung<\/em>, Ulrich Olshausen, 6.11.14<\/span><\/p>\n\n\n\n

\u00bb[\u2026] konnte Silke Eberhard mit Dolphys posthumem Kammermusikwerk Love Suite<\/em> punkten: In der Bearbeitung f\u00fcr Bl\u00e4ser und Elektronik lie\u00df die Klarinettistin notierte Struktur und energiereiche Improvisation in geistreiche Dialoge eintreten.\u00ab Der Standard<\/em>, Andreas Felber, 4.11.14<\/span><\/p>\n\n\n\n

\u00bbNun spielt sie, die Nachgeborene, das Altsaxofon und die Bassklarinette, jenes Instrument, das Dolphy im Jazz etablierte. Ihm und ihr zuh\u00f6rend, f\u00fchlt man sich zur\u00fcckversetzt in eine Zukunft, die eine Zeit des Aufbruchs sein wird.\u00ab DIE ZEIT<\/em>, Stefan Hentz, 1.10.14<\/span><\/p>\n\n\n\n

\u00bb24 Minuten dauert die wiedergefundene Love Suite<\/em> in Silke Eberhards Version, bietet Kammermusikalisches neben Free Jazz, fesselnde Sounds, effektvollen Witz, fantasievolle Soli, packende Duette und Trios. [\u2026] Die Entdeckungen gehen weiter.\u00ab Jazzthing<\/em>, Hans-J\u00fcrgen Schaal, Nov. 2014<\/span><\/p>\n\n\n\n

\u00bbPotsa Lotsa gelingt der zeitgen\u00f6ssische Widerhall von Dolphys doppeltem Wesen als Komponist und Interpret ohne einen Anflug von Musealisierung, daf\u00fcr mit geh\u00f6riger Spielversessenheit.\u00ab TAZ<\/em>, Franziska Buhre, 25.6.14<\/span><\/p>\n\n\n\n

\u00bbEuropean Scene: German Saxophonist reimagenes Eric Dolphy<\/a>\u00ab DownBeat Magazine<\/em>, Peter Margasak, December 2010<\/span><\/p>\n\n\n\n

\u00bbIndeed, collective improvisation was the common denominator for many of the German musicians, especially during Silke Eberhard and Potsa Lotsa`s rousing send-up to Dolphy. A horn quartet led by alto saxophonist Eberhard and featuring tenor saxophonist Patrick Braun, trumpeter Nikolaus Neuser and trombonist Gerhard Gschl\u00f6ssl, Potsa Lotsa brought sparkling imagination, collectice improvisational zing and humor to the proceeding as they delved into Dolphy classics such as Hat and Beard<\/em>, Straight up and Down<\/em> and Burning Spear<\/em> with no one playing bass clarinet or flute. A reason why the group\u00b4s performance was so magical was that none of the members seemed intent on playing Dolphy but rather playing his music.\u00ab DownBeat Magazine<\/em>, John Murph, December 2009<\/span><\/p>\n\n\n\n

\u00bbEliminating expected rhythm section incursions, Swiss alto saxophonist Eberhard\u2019s Potsa Lotsa, had saluted Mingus\u2019 favorite saxophonist \u2014 Dolphy \u2014 in the same location the day previously using only horns \u2014 her own alto saxophone, Patrick Braun\u2019s tenor saxophone, Nikolaus Neuser\u2019s trumpet and Gerhard Gschl\u00f6ssl\u2019s trombone. Rather than being limited by the instrumentation, this layered polyphony added new tinctures to Dolphy\u2019s best-known music, which sadly had been created in less than half a decade. 
The compositions were re-harmonized canon-like with trumpet grace notes at the top and Braun\u2019s deeper sax tones providing the ostinato glue holding together the undulating improvisations. Distinctive touches included Gschl\u00f6ssl adding downcast moans to a reading of Out to Lunch<\/em>, which otherwise bounced along on rubber-mute fanning from the brass; and blustery vibrations from the saxophones in broken octaves, as they worked through pieces from Dolphy\u2019s storied Five Spot<\/em>-recorded LPs.\u00ab JAZZWORD<\/em>, Ken Waxman<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Downbeat USA Annual Downbeat Critics Poll – July\u2022 Silke 4th in Rising Star Alto Saxophonist of Year\u2022 Potsa Lotsa XL 4th in Rising Star Large Ensemble of the Year \u00bbAdd to this an exemplary production and you have a truly beautiful result. An obvious candidate for foreign release of the year.\u201c Peter Danstrup, All that. […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-48","page","type-page","status-publish","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["de","en"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"yoast_head":"\nPress - POTSA LOTSA<\/title>\n<meta name=\"description\" content=\"\u00bbThis is an absolutely superb album in every way: conception, scoring, execution and solos. 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