Full review of “While We’re Here”, Rock & Blues Muse, 2022
By Mike O’Cull
German guitar master Lars Kutschke fully delivers on his potential all over his new solo album While We’re Here.
Released July 22nd, 2022 on the Timezone label, While We’re Here finds the slick and talented Kutschke using his blues, soul, jazz, funk, and rock influences to create a deliciously mixed bag of upscale roots music with the help of special guests including vocal powerhouse Tad Robinson, guitarist Kirk Fletcher, and organists Simon Oslender and Alberto Marsico.
Kutschke features instrumentals and vocal tunes on this new set, some original to him, some written by band members, and covers of songs by Little Milton, Neil Young, and Leon Russell. Lars produced most of the sessions himself with assistance from Till Sahm on two tracks. The actual performances were laid down in Germany and the USA. The resulting album skillfully walks a line between modern R&B and smooth jazz and a whole lot of people are going to love it.
Lars Kutschke is one of Europe’s finest guitarists and composers. He initially studied music in Dresden and Rotterdam but began to truly learn the blues when he connected with American singer Sharrie Williams and she invited him back to her home state of Michigan. This became an immersive experience that led to Kutschke hitting the road with Sharrie, playing Sunday Baptist services, and rubbing shoulders with blues legends Hubert Sumlin, Buddy Guy, and the Holmes Brothers.
Ultimately, he performed with Sharrie in more than 40 countries and forged his own unique playing style that focused on grooves and melodies. He’s well-versed in all types of American music but comes to it with a Continental flair that’s hypnotic and intriguing.
Kutschke opens While We’re Here with the gentle, mid-tempo funk of his original tune “Chelsea Morning.” It’s a chilled-out, ultra-melodic piece that begins up in the atmosphere and builds until it brings its pocket right to your front door. Lars’ phrasing and note choice are impeccable and he stretches way out without ever abandoning the groove. Kirk Fletcher also shows up on guitar here and contributes more sweet lines and licks. The band behind them lays down some juicy horn-and-organ accents on top of a tight rhythm guitar part and all is well with the world. Fine work.
Little Milton’s soul jam “I Want My Baby Back” gets a workout in Kutschke’s hands that features lead vocals from Indianapolis-based frontman Tad Robinson. Robinson is as good as it gets at the singer’s art, providing a smooth-but-intense center to this sophisticated classic. The interlocking bass and drum groove is worth a bunch of listening time all on its own and functions as a clinic on the topic of high-end rhythm sections. It’s an uptown cut without question but still has what it takes to knock you out.
Tad Robinson steps out again on Leon Russell’s “Hummingbird” and displays another facet of his vocal presence. The backup vocals lift the arrangement up and Kutschke turns us onto more of his understated guitar work. It’s an excellent reading of a song that’s found its place in history and now speaks to all of us.
Kutschke’s title cut “While We’re Here” feels peaceful and spiritual and contains some of his most beautiful guitar lines on the record. He never rushes things, always says exactly what’s needed, and paints the space between your headphones with color and precision. It’s a gorgeous moment that deserves your listening time. Other highlights on the record are “Hidalgo” and Neil Young’s “Coupe De Ville.”
Through it all, Lars Kutschke plays it cool, in the pocket, and out of sight. Highly recommended.
Interview with Michael Limnios of Greek Blues Magazine/Blog blues.gr , 2022
Lars Kutschke: The Sound of Memories
German born Lars Kutschke started writing and performing songs and playing music for a living in the mid-90s, which included playing every gig from weddings to TV Shows and musical productions. As musical director for the band of Michigan-based Gospel/blues artist Sharrie Williams, Kutschke toured 40+ Countries on 5 continents and, more importantly, had the chance to cut his teeth sharing bills with Buddy Guy, Taj Mahal, the Holmes Brothers, Lucky Peterson or Joe Bonamassa. He co-wrote and co-produced 3 albums for Sharrie - all of which were nominated for the American Blues Music Awards (BMA). Connections in the Blues circuit also lead to performing with other artists of the genre, including Bettye Lavette, Alberto Marsico, Tad Robinson, Sax Gordon, Alex Schultz, Kirk Fletcher and others. The guitarist cut his first solo album in 2012, featuring Sharrie Williams on vocals and Chris Coleman, drummer for Prince and Beck.
His new album “While We’re Here” on Timezone Records (2022), is a labour of love recorded with many friends from the international music scene. Lars says: “The album mirrors my musical journey and is filled with contributions from long-time friends I’ve met along the way. My first release was a one-band-3-days-in-the-studio thing and this here is different. Whenever I finished an idea or a song, I called some friends and we’d see what we could do with it. As a result tracks and my guitar work are graced with contributions by Alex Schultz, Tad Robinson, Kirk Fletcher and Simon Oslender, to name just a few. I think I counted 26 musicians who are involved. Mixes were done in New Jersey by Hanan Rubinstein who’s not only a helluva engineer but happens to be a bona fide guitarist and part of the working band of Alicia Keys.”
How do you think that you have grown since you first started making music?
I would like to think that I've become a better listener, focusing on myself to a lesser extent and seeing the big picture instead. That's the goal anyway and it's a quality that grows later in the game whereas most (if not all) of the technical stuff is developed relatively early.
What has remained the same about your music-making process?
In any musical context I first try to listen and figure out (to the best of my abilities) what I can bring to the table. What spice could I add to this dish we're making here? And – maybe my voice is not even needed in certain parts? Sometimes I succeed, but I'm still growing and feeling far from perfect.
Where does your creative drive come from? What music moment changed your life the most?
Whenever I hear great music, no matter the genre, it makes me want to pick up the guitar. Lately it was Gene Ammons, trying to learn some of his lines, the way he approaches a Blues form. Then a student turned me on to some of Ravel's work and I've been listening to that a lot over the last months. Thank god I keep having these wonderful musical revelations....Three “early” key moments I can definitely put my finger on: Prince's “Sign O' The Times” movie, Egberto Gismonti's record “Circense” (well actually all of his work) and hearing Steely Dan's “Aja” for the first time. This was way before I got into the Blues, but those are still valid. And I keep digging in Blues history of course. I got two dear Friends who are walking Blues history books, Alex Schultz and Kirk Fletcher. They're like my teachers, it's incredible how much these guys know.
Do you have any interesting stories about the making of the new album “While We’re Here” (2022)?
It was a weird record to make bc half of it happened during the pandemic, so tracks were boucing back and forth across borders, well, oceans. No big deal in many musical genres but it affects the vibe a lot. I have to add though, some tracks happened live in the Studio, like the trio pieces and the slow blues “Denise And the Nephew”. But I love the outcome, actually much more than my first album. We got away with the limitations and created some beautiful soundscapes. Hanan Rubinstein, who mixed the album, did an outstanding job. Next album has to be a live record, though!
What´s been the highlights in your career so far? Are there any specific memories that you would like to tell us about?!
Hard to pick one! Riding a Taxi in Florida with Hubert Sumlin, listening to his stories. Meeting Taj Mahal. Nerding with Joe Bonamassa about Telecasters. That would be a few.
How do you want the music to affect people? What do you think is key to a life well lived?
I can only speak for myself as a listener: music can really be uplifting, good music can safe a terrible day and pull You out of a bad mood. I hope some of my music can do that to people, I've definitely seen that effect when I was playing with Sharrie Williams. And speaking about a life well lived: this is a cliché, but I'd say try to be kind to people You encounter. And be kind to Yourself: You can get up every day and try again to become a better person.
What are some of the most important lessons you have learned from your experience in the music paths?
I'd say the most rewarding “lessons” took place on stages playing behind fantastic singers and locking in with great rhythm sections. That's where one really grows as a musician, where You learn how to play, when to play and when to shut up. Of course first You have to get Your stuff right and know Your instrument, but You can get all info You need by just watching Youtube and Instagram. Except the experience of playing together and function as a part of a unit. There are unbelievable cats among what I call the “Instagram players”. But to me it's only half the fun until You're in a room interacting with other musicians.
John Coltrane said "My music is the spiritual expression of what I am...". How do you understand the spirit, music, and the meaning of life?
It's so hard not to lose hope in humankind these days. To me the arts are one of the most valuable points proving that all's not lost, that humans are capable of doing something good. You got the Trumps and Putins – but then You got BB King, John Coltrane and Bill Evans: all's not lost.
Review “While We’re Here“ rockblog.bluesspot (Deutsch), Oktober 2022
Seelenvoller Mix aus Soul und Jazz aus Dresden
Es schleicht sich an, es umgarnt den Hörer, umschlingt ihn mit emotionalen Bildmustern und zieht ihn hinein in einen betörenden Sog aus Blues und Gospel, Soul und Jazz. Ja, es sind schon fast magische Momente, die der Dresdner Ausnahmegitarrist Lars Kutschke hier zusammen mit befreundeten Künstlern und Weggefährten auf sein neues Album gebannt hat.
“While We’re Here“ ist es betitelt und ist entstanden während vieler entspannter Treffen und inspiriert von dem Ziel, den gemeinsamen Moment zu genießen und Musik zu machen „während wir hier sind“.”Denn dies,“ so sagt Lars Kutschke,„ist etwas, was man beileibe nicht als Selbstverständlichkeit erachten kann.“
Es ist einfach verblüffend, wie mühelos und gelassen dieses facettenreiche Album klingt – eine freigeistig tanzende Gitarre, fliegende Keys, stolz schreitende Drums und fein verzierte, dezent jazzige Americana-Arrangements wecken bei mir Erinnerungen an einen 70er Jazz-Rock vom Feinsten.
Weil hier aber nie selbstreflexiv auf Vintage gemacht wird, ist es daher einfach wunderbar zeitlos.
Insgesamt spiegelt dieses Werk ein Gefühl sacht flatternder Leichtigkeit und glorioser Souveränität wieder. Hervorragende musikalische Wegbegleiter wie der Sänger Tad Robinson, der Gitarrist Kirk Fletcher oder die Organisten Simon Oslender und Alberto Marsico betreten neben zahlreichen anderen beeindruckenden Musikern hier abwechselnd die Bühne und tragen zum schwingend bunten Kaleidoskop aus Stimmungen und Klängen bei.
Jedem einzelnen dieser zehn Songs wohnt ein fein ausdifferenzierter Zauber inne, der seine Funken dezent versprüht, aber auch zu lodernden Flammen heranschwellen oder inmitten heißer Glut züngeln kann.
Einen atmosphärisch entspannten Einstieg in diese faszinierenden Klangfarbenerlebnisse bietet der Titel „Chelsea Morning“, ein extrem cooles Instrumental mit herrlichen Harmonien und Tonartwechseln, der beim lockeren Jammen in Herrn Kutschkes Lieblingsmusikladen „30 th Street Guitars“ im New Yorker Stadtteil Chelsea entstand.
Und welcher Track ist jetzt mein ganz persönlicher Favorit?
Ganz klar, ich entscheide mich für „I Want My Baby Back“, der Interpretation eines Songs des Blueskünstlers „Little Milton“ (1934 – 2005).
Denn niemand Geringeres als der wunderbare Sänger Tad Robinson, in dessen samtige und warme voluminöse Stimme man so wie in eine Umarmung vom besten Freund versinken kann, unterstützt Herrn Kutschke bei dieser fein arrangierten Version. Man kann sich schwer vorstellen, wie dieser Song noch glaubhafter werden kann.
Oh ja, “While We’re Here“ ist definitiv ein Aufhorchen lassendes Album und wird Liebhaber derartiger Tonkunst ganz bestimmt zu beeindrucken wissen. Ein Soundtrack, der genau richtig ist für goldene Oktobertage, für stille Sonnenuntergänge und entspannte Stunden voller Tiefgang und Achtsamkeit.
Interview w/ Romanian Magazine “Ziele si Noptie”, Jan 2023
You played in a lot of different musical project/bands. However, we know you mostly playing the blues. Why blues?
It's a musical language that moves me on such a deep level – which also applies to it's accendants, Gospel and Soul. However I do not consider myself a “real” Blues player. I have friends who dug much deeper and very thoroughly in that well – whereas I'm more of an allround guy, who dipped his feet in several musical styles.
You released your 2nd solo album last year – While we are here. What inspires you to create? What was the recording process like?
I find Inspiration in places, people, that's what gets it started. Most tunes just come to me out of nowhere, although there's occasions when I sit down and I'm like, let's write a tune in the style of so-and-so. The production stretched over a couple years. There's a lot of guest appearances on the album, whenever I had a new idea I invited some friends, let's go to the studio. So it's a bit different from my first album which was cut in 3 days. Honestly next time I'll go back to that approach.
Who are your “music” heroes? What artists influenced your music the most?
Thinking of musical heroes....in general I look up to artists who always strive for the next level. John Coltrane comes to mind. Jeff Beck comes to mind, who was already considered the best by his peers, literally, and still he went on and took his playing even further. That's kind of a code to live by, as an artist. As far as direct influences, I guess what really left a deep mark on me is 60's and 70's Soul music. Stax, Motown, Gamble & Huff – that would be my desert island music. Hard Bop, Gospel, Blues, those are the main ingredients in my own music. And I was kind of spoiled by a long intense Steely Dan phase. That smooth westcoast thing – I can't get rid of it somehow. My friends joke about that when I present new tunes to them. To throw a few more names: Larry Goldings is one of the greatest living musicians nowadays. I take in everything he puts out, be it on his Instagram, Patreon or his album releases. Adam Rogers. Kirk Fletcher. Mike Welch. I'm also diggin' Yebba right now, an amazing singer with a knack for great tunes and lyrics. Her production is top level also.
What’s the best piece of advice you’ve been given?
Never rest on Your laurels. Everyday You're starting over from square one. You might have sounded great one night but the next night can be really shitty and you got to start working again. There's a nice joke: A guitar player comes back to his hometown and meets an old friend. “So what's new?” the friend asks. “Well I just finished an international tour with Sting”. “Wow, I had no idea! How cool”. “Yeah, and I married that model and bought that house in Beverly Hills”. “Really? I didn't know, that's so great for You” the friend replies. The guitar player goes on: “Yesterday I went to the jam session and I really messed up on the bridge of “Have You Met Miss Jones”. The friend replies: “Yeah man, I heard about that, everyone's talking about it”.
What do you consider to be the highlights in your career so far?
There's a lot of things I feel blessed for – but I would pick being onstage jamming with Hiram Bullock. He's overlooked by many but he's probably my guitar hero number one. I got to hang with him and pick his brain for a minute, too. So grateful for that. Hiram was one of a kind. Just check him out playing “Little Wing” on Sting's version. He is the only one who ever pulled it off after Hendrix in my opinion. I heard Hiram play the tune live on a handful occasions – and he always found new, beautiful melodies. I mean no guitar chlichées, but the melodic sense of a Jazz cat with serious Rock attitude.
How did you meet Sharrie Williams and ended up being her musical director?
I happened to be the guitar player in the local pick up band when she first came to Europe and a week after the gig I got an email with an invitation to Michigan to work with her band and write songs together. I was living in Holland at the time with no serious plans so I took a plane to Detroit. It was just two weeks after 9/11 – it was almost completely empty. I still remember that. I could literally lay down wherever i wanted. I ended up staying for several months as part of Sharrie's working band and discovered that all my European knowledge and theory meant nothing. It was an amazing experience. I mean I went to school before but that was the REAL school.
What can you tell us about your collaboration with Rammstein?
Oh, that's a simple one. One of my old music buddies, Sven Helbig, became a well known producer and artist in his own right. He knows the guys really well and provided the contact when they needed all their songs transcribed for their publishing agency. Some of the songs went into what became their sheet music book “Klavier”. I remember I was sick and tired of hearing Rammstein songs after that. It was 90 songs and the gig took me 4 months.
You’re also a teacher. How do you make blues music accessible to a younger generation?
Either they're feeling it, responding to it or they don't. I'm teaching at a Jazz conservatory and I can see Jazz moving away from it's Blues roots. The form has remained but the musical content seems to move towards European music lately. Not really my thing but things inevitably change.
You’ve been touring the world. What are your best and worst touring experiences? :D
The best is always being in Brasov. Seriously, one of the best. There's a lot of highlights I'm so thankful for. Quite recently I was in Israel with Alphaville and saw some beautiful places. Doing the Chicago Blues Festival was something else! Meeting Taj Mahal and the Holmes brothers, or a 30 min Taxi ride in Florida, just me and Hubert Sumlin, who, for some reason, had the same checkout-time as me.
But I could name a few bad ones, how much time You got? I was in China for a long musical tour and in the middle of it, the company lost the permission to do the songs. We were stuck in a Hotel somewhere and the pollution was so bad, You could not see the other side of the street. The Chinese company had collected our Passports and we could do nothing. After a week the German tour manager secretly tried to get the passports and book flights, but she was caught. Finally, at some point we were allowed to leave. And this leads to the next story: On that tour, among other things we had to play the “Shoop Shoop” song by Cher, and after it was over, there would be like a little extra outro, an afterplay, so the singers got time to change clothes, right? The drummer would count it off and we would play 32 bars of some music. So, half a year later, we were back in Europe, still touring the show, but some things had changed, including that outro – it was cancelled, for some reason there was no need for it anymore, I believe the order of songs had changed. The drummer had changed, too, and for one show when he was sick, he called the guy who had played the China tour. But he forgot to pass that information! So guess what happens: The “Shoop Shoop” thing ends, people applause and suddenly, with horror! I hear a drum fill: the guy went straight to the outro, as he was used to! By that time, everyone had forgotten what we even played in that part. So it was a really sad and pathetic mess, everyone trying to find parts and chords, it sounded HORRIBLE! And the light people had no idea either, the stage was completely black, so to top it off, the whole mess happened in 100% DARKNESS. After 30 seconds, the thing came to an end, it litterally fell apart like a card house, really pathetic. And not a SINGLE person in the audience clapped, it was dead silence, I mean DEAD. Hahah! After that the show just went on, as if nothing happened. My worst moment on stage – yet :-D Great thing: I recorded that night on my phone. I still got the recording.
If you were not a musician, what would you be?
I believe I would have a restaurant and/or create my own wine.