IG: @mattikleinmusic  @sputdancer (Andre Seidel) @zander.lars (Lars Zander)

Since the early 1970s Fender Rhodes and Wurlitzer electric piano sounds had the most profound and sustainable impact on the music heritage of funk and soul jazz. Herbie Hancock, Ray Charles, Stevie Wonder or Donny Hathaway, none of these music legends could resist the seducing sound of these instruments.

There’s something about live players that you cannot get with machines: With live musicians, you can strike a groove, you can feed off each other … and even though somebody might make a slight mistake, it’s all real!“ – Isaac Hayes

For several years now Berlin-born pianist & composer, Matti Klein has played “Wurli” and “Rhodes”, as he affectionately calls them, as an integral part of his music. It all began with the highly successful funk jazz quartet Mo’ Blow. The Rhodes sound was an indispensable component in the band’s successful ten year legacy. Mo’ Blow released three albums on the renowned ACT label, won the Audience Award and the Jury Prize at the Jazz & Blues Award Berlin in 2008, and the coveted Future Sound Award at the Leverkusener Jazztage in 2011. Matti has also worked with many jazz greats such as Nils Landgren, David T. Walker, Ed Motta, Allan Harris and Torsten Goods.

Over the years he performed more than 1000 national and international concerts, travelling to legendary jazz venues such as the Blue Note in Tokyo, Ronnie Scott’s in London, the Highline Ballroom in New York or the New Morning in Paris, as well as major festivals such as Jazz in Marciac (France), Pori Jazz Festival (Finland), the Leverkusener Jazztage (Germany), the Elbjazz Festival (Germany) and the Jazz Baltica (Germany).

Alongside Lars Zander (bass clarinet & tenor saxophone) and the tight grooves of drummer André Seidel, Matti Klein’s Wurlitzer and especially his Rhodes bass sound have constituted the essential foundation of his new Soul Trio’s sound concept since 2017, with the band’s concerts receiving the highest accolades from both critics and audiences alike.

German music journal Jazzthetik praises the “epic beauty” of the trio’s music, “which is unparalleled,” and radio broadcaster Deutschlandfunk Kultur even jubilated: “It grooves tremendously (…) just like it did in the finest days of soul under the Tamla/Motown roof.”