Portfolio 10

In Another Silent Way

The title of the series, photographed in 2018, follows the famous jazz song by Miles Davis. In nother quiet way jazz clubs are shown for themselves, without audience and without musicians. They are fascinating, special, full of character, have their own unique atmosphere and are as distinctive as the music that is otherwise heard in them. Just like jazz music, they stand for openness, diversity, creativity and a balance of complexity, depth and harmony.
Bogui, Madrid. Several years ago I had a very intense time with an energetic jazz quartet. We were four young guys aged around 30 and played every night in order to survive – an Estonian pianist, a Spanish double bass player, a Polish-Kazakh drummer and me, a German on a Romanian cello. 
We spent a week in Madrid during that period, maybe in 2007, and played several evenings in the Bogui. It’s a wonderful place. Full of contrasts. After our jazz concerts the club turned into one of the hottest party clubs in town within two to three hours. If it was possible to cross the room without difficulty in ten seconds at about 10 p.m., 3 hours later it felt as if it was taking 30 minutes – and you had to try out your foreign languages while spilling the drink that you had just fetched. 
Stephan Braun

Each venue creates a different environment which influences the way a musician is playing and the way the public engages with the creative process. While on tour the clubs become your home. Sometimes they all become one- that place where you are left only with music. As important as the space are the people working- the spirit of the place is a combination of both. I usually like taking some time walking around the club while warming up, kind of feeling the place. 
Ziv Taubenfeld 


Jazz Showcase Chicago: I have arrived early for rehearsal, the club was totally empty. While sitting on stage in front of a Steinway grand, model D, a huge picture of Charlie Parker is looking at you. When you look in the empty hall, there is another large photo of John Coltrane behind the bar. Well, do you dare to play a few notes? Magical atmosphere – and Joachim is able to catch it. Village Vanguard, March 1978, Bill Evans trio with Mark Johnson-bass and Philly Jo Jones – drums. Since I have lived in walking distance from the club on 141a, Reade St, I used to go there often. On the right side of the small stage is a bench, close to the drummer. During the 2nd set a small, stocky and dangerous looking guy sat next to me and said: “Are ya a musician?” “Yes, I am piano player”. “Do ya know Kind of Blue?” “Of course, Bill Evans plays on that recording”. He keeps testing me: “Could ya name the songs?” “So what, Blue in Green and …”, he interrupted me and said: “One song Bill doesn’t play, do ya know?” “Wynton Kelly plays that Bb flat blues called Freddie Freeloader”. “Good. That’s me”. I was looking at him confused and he explained: “Man, I was Miles´ boxing sparring partner in that gym on 98th. Miles called me Freddie Freeloader.” Jazz clubs are the only places where you could experience a story like this.

Emil Viklický


Joachim Feigl has captured the beauty of these jazz performance venues in a way that gives audiences a chance to feel the room as musicians do. Musicians usually become acquainted with each of their homes to present music before the audience arrives. These photos capture the essence of what musicians feel in those times in a classic manner. The care that each venue takes to make their rooms feel warm and fuzzy yet sophisticated and elegant are as unique and valuable to the music as the sounds of all the musicians that they present. This book is a beautiful addition to the way we carry forth jazz in its second millennium.

Donald Harrison