Dieter Ilg - Motherland (2025)

There are artists whom we follow not merely out of admiration for their craft, but for the richness of their journey, the depth of their ideas, and the singularity of their musical expression. Such is the case with Dieter Ilg, whom I first discovered long ago through the esteemed German label ACT. As I eagerly awaited the release of a new album—one that seemed ever-elusive—I finally reached out to Ilg himself, who, with characteristic generosity, sent me this latest opus.

Dieter Ilg is, above all, the master of an awe-inspiring bass sound, a hallmark that remains undiminished on Motherland. Yet, as always with Ilg, there is more than mere virtuosity—there is a profound inspiration, one immediately suggested by the album cover. Depicted wearing the traditional Bollenhut of the Black Forest, Ilg weaves a musical homage to his homeland, his roots, and the natural world that has shaped him. Accompanying him are his trusted collaborators: German pianist Rainer Böhm and French drummer Patrice Héral. As a special guest, his longtime duo partner, the trumpet virtuoso Till Brönner, graces several tracks with exquisitely sculpted solos. Brönner’s contribution extends beyond the musical realm—his keen eye as a photographer lends the album artwork a striking visual identity.

An assemblage of artists I hold in the highest esteem, gathered for an album that elevates the essence of European jazz—a genre so often drawing its spirit from classical and world music. Motherland is a luminous embodiment of this tradition. Here, Ilg plays with rhythm as never before, embracing a newfound freedom. Beyond its conceptual foundation, this may well be the album that most fully mirrors his artistic soul. Over the course of his career, Dieter Ilg has collaborated with an array of luminaries—Randy Brecker, Charlie Mariano, Peter Erskine, Vince Mendoza, and many others. As a leader or co-leader, he has released no fewer than 25 albums, alongside an extensive catalog of sideman recordings. With Motherland, he reunites his longstanding ensemble for yet another orchestral adventure. Having played together for sixteen years, they have cultivated an almost telepathic musical rapport—one that, in Ilg’s words, thrives on the art of letting music emerge in the moment.

These have been particularly prolific years, with each of these musicians refining their craft through collective evolution. One might well imagine landscapes unfurling before our eyes as the tracks unfold, each composition carrying us deeper into its poetic universe. I have always admired Till Brönner, but here, the trumpet master shines with an ingenuity that seems fueled by the sheer beauty of the music, magnified by the alchemy of his fellow artists. Musica, Musique, Music! Yes! Again and again! This eleven-track album feels far too brief, its spellbinding allure leaving one unable to move on. One listens, then listens again, and inevitably envisions the magic of these pieces performed on stage—an enraptured audience rising to their feet in thunderous applause. It is beautiful. It is meaningful. It is profound. How could we expect anything less from an artist whose past explorations have so magnificently honored Bach, Beethoven, Othello, Parsifal, Ravel, and even his album Dedication? With Böhm and Héral—stalwart presences in so many of these works—Ilg conjures once more that rare and wondrous magic.

In all great art, a singular vision is required to craft something that stands apart. This trio embodies that principle. Their music is imbued with a fervor akin to Milestones by Miles Davis—though shaped, of course, by their own European heritage. It is not the same music, but it is undoubtedly the same passion. There can be no doubt: Dieter Ilg is not only among the foremost bassists of our time; he is also a composer and arranger of rare distinction—a musician whose work will inspire both aspiring players and devoted jazz aficionados alike. An album such as this elevates us, expands us. It cannot be cast aside. Without hesitation, we place it atop our stack of “Indispensable” records.

Thierry De Clemensat