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The acclaimed drummer makes his debut as a bandleader. He’s a driving force and can deliver powerhouse solos, but also showcases the ample talents of his jazz combo. The supercharged lineup includes bassist Linda Oh, guitarist Nils Weinhold, pianist Pascal Le Boeuf and tenor saxophonist Adam Larson. Among the tracks that take flight are “Punkberry" and “Space." The darker, moodier title track is striking, as well.
-Paul Freeman (

Drummer/composer Bastian Weinhold (whose fine percussion work graces guitarist Dave Juarez's Posi-Tone debut, "Round Red Light" (reviewed here), has his own debut to be proud of.  "River Styx" (Frame Music Label), also a nod to myth, shows the young German native (born 1986) as a hard-driving, perpetual motion, percussionist.  The quintet that plays his music features the impressive young bassist Linda Oh, tenor saxophonist Adam Larson (he's just 21), 24 year-old Pascal Le Bouef (piano, Rhodes) and older brother Nils Weinhold (electric guitar).  These compositions may remind some of the Chick Corea's electric Return To Forever but without the bombast.  Bastian Weinhold has a propulsive style, really pushing the tempo, working the entire trap set, busy but never instrusive, very much in the style of Tony Williams, Eric Harland and Dafnis Prieto. The opening 2 tracks, "The Tune" and "Punkberry", rarely let up - in fact, the latter track is quite intense yet not extremely loud.  The first half of the next track, "Kungafuh", is slower but the intensity level really climbs during Larson's tenor solo.  The one "true" ballad on the program is titled "The Last Line" has quite a pretty melody and the band shows great restraint throughout. Larson's solo, over a modified shuffle beat and rippling Rhodes figures, has intensity but never boils over. The title track closes the CD; the band starts slowly but begins the seemingly inevitable buildup during Ms. Oh's powerful solo.  While the piece never really "lets loose", the interaction of the front line with the leader's crashing cymbals and crackling snare work is both focused and intense.

Add Bastian Weinhold's name to the growing list of fine young drummer/composer/bandleaders.  With a bit more exposure, his name is sure to be on the lips of many jazz fans. To find out more, go to  



By DAN BILAWSKY, Published: May 2, 2011

In Greek Mythology, the River Styx was said to separate the world of the living from the world of the dead. With this in mind, it be assumed that drummer Bastian Weinhold's debut might be a drab journey filled with gloom, but that's not the case. A dark, aggressive side certainly comes out in a lot of places, but the rhythmic energy and excitement never waver and River Styx bursts forth with passion at every turn.
The German-born, New York-based drummer enlisted a crew of up-and-coming stars in the making, with bassist Linda Oh the most well-known name on the list, and this quintet doesn't disappoint. In some places, Weinhold wastes no time, immediately taking off with some dexterous drumming that drives the band ("EsSeeE") to great heights. At other times, the entire band creates episodes of varying styles within a single piece. "The Tune" is a travelogue that winds its way through various locales, starting with a mysterious piano introduction, moving through a stormy section of free jazz, spotlighting Oh's stunning solo skills and pianist Pascal le Boeuf's feisty finger work, and arriving at a section of music that's propelled by Weinhold's organic, odd-metered grooves.
Guitarist Nils Weinhold and tenor saxophonist Adam Larson are at the top of the sound pyramid throughout, and they prove to be a compelling frontline pair. They develop intriguing, angular lines and devilish, darting runs ("EsSeeE"), but they also assist in creating a beacon of musical hope with their calming influence on "The Last Line."
Weinhold himself proves to be a crafty timekeeper and dazzling soloist. He can be bombastically brilliant ("Punkberry") and technically dazzling at times ("EsSeeE"), but his playing ultimately serves the music. One example of his team-player attitude is his ability to craft dynamic arcs ("Kungafuh"), creating a lightly pulsating undercurrent with Oh and building to a boil before returning to gentler waters. Perhaps the Greeks wouldn't have feared the River Styx so much if they knew a trip along its waters could be as rewarding a journey as this. 

Track Listing: The Tune; Punkberry; Kungafuh; EsSeeE; The Last Line; Space; River Styx. 

Personnel: Adam Larson: tenor saxophone; Pascal Le Boeuf: piano, rhodes; Nils Weinhold: guitar; Linda Oh: bass; Bastian Weinhold: drums. 

Record Label: Self Produced
Bastian Weinhold at All About Jazz

All About Jazz

Published: June 2, 2011

Drummer Bastian Weinhold recorded River Styx in one day in Brooklyn. It's the young drummer's self-funded debut, though he has already developed a name for himself alongside players such as saxophonists Seamus Blake and Dave Liebman, and the results are exceptional, as Weinhold brings together a series of his own endlessly intriguing charts with a quintet of great young players, including bassist Linda Oh and tenor saxophonist Adam Larson.
High caliber quintets of sax-guitar-keys-bass-drums seem to be in vogue—guitarists Dave Juarez and his debut, Round Red Light (Positone 2011), also with Weinhold, and Jonathan Kreisberg's Shadowless (New for Now 2011))—and there seems to be something in the setup that gives bands the freedom to fit a wide range of sounds into their playing. A lot of influences come out here, from postmodern bop and R&B, to bebop, classical, and even pop and world music. The result is a shifting complexion within each song, handled with easy virtuosity by the five players as they switch roles.
The songs themselves are lessons in perpetual reinvention. "The Tune" opens with solo piano meandering in a slightly melancholy mount, as bass and guitar join in unison for a marimba-like sound. As sax and drums enter, the evolution takes off. The tune rises to a John Coltrane-esque mantra, called out by sax and guitar in response to the dizzying strikes of drums, before jumping into an up-tempo taste of odd meter à la Dave Brubeck's "Blue Rondo a la Turk," featuring killer solos from bass and piano. The result is a kind of sectionalized composition, blending the emotional range of an extended classical piece with a mix of popular feels, forms, and funk from modern jazz.
Larson shows a lot of fire with a powerful solo on the high octane "Kungafuh." It pairs nicely with his later statement on the brief, pastoral "Last Line," where he milks the song's complex rhythms and deceptively simple sound with delicate runs amidst perfectly chosen spaces. Weinhold shows the ability to temper the high-energy crashes and multilayered rhythms of modern playing with weighty silences and whispers of chimes. His delicate brushwork at the beginning of the title track makes for a kind of hazy, liquid serenity amidst acoustic guitar and Fender Rhodes. And when the track opens up into something bolder, he's the one powering it forward to a dark yet grooving edge of intensity.
The truth is that powerful and dynamic young drummers are all over New York these days. But albums like this—cooking with forward-thinking writing, powerful solos, and solid chemistry—are not so common. An exciting debut from a quintet of future all-stars. 

Track Listing: The Tune; Punkberry; Kungafuh; EsSeeE; The Last Line; Space; River Styx. 

Personnel: Adam Larson: tenor sax; Pascal Le Boeuf: piano, Fender Rhodes; Nils Weinhold: guitar; Linda Oh: bass; Bastian Weinhold: drums. 

Record Label: Self Produced
Bastian Weinhold at All About Jazz

New York Jazz Wide

Weinhold, Bastian: River Styx

This is Bastian Weinhold's debut album. According to Weinhold's website: "River Styx was recorded on a one day recording session on March 6th 2010 in Brooklyn, NY. River Styx includes work from the following artists: Adam Larson on tenor sax, Pascal Le Boeuf on piano and Rhodes, Nils Weinhold on guitars, Linda Oh on bass, and of course Bastian Weinhold on drums.
Weinhold describes River Styx as an album that "reflects emotions, thoughts and experiences I had in the last two years. While I composed the music I discovered, that I looked at the music in a way of little bits that started to move and fly slowly or sometimes faster through space. These bits sometimes crash but instead of breaking into even smaller bits, they stick together. After a while I realized that all these bits, that got stuck together created a moving, constantly changing sequence. After the first rehearsal for River Styx I was surprised to see that every time the music began, different little bits crashed and different bits got stuck together. Of course they formed another moving sequence, another picture frame and created a whole new story. On this CD you will listen to the most exciting stories which the music told us on March 6th 2010 (, 2011).
This is a very good compilation of interesting jazz sounds and instruments set to some fun beats. At times relaxing, at other fast and rhythmic. Always dynamic and interesting.
"The Tune" opens with piano and bass similar to the sunrise pictured on the cover of the album. The bass work, drums and tenor sax work is brilliant. Then the rhythm and beat pick up and the bass work gets even more intricate. The drum work from Weinhold sounds unique and interesting. The piano work is very relaxing even at the faster pace. Perfect for a walk or drive through Manhattan or Central Park on a spring.

Dave Juarez -][- ROUND RED LIGHT [Post-Tone Records]

Posted by theurbanflux on April 18, 2011
Dave Juarez -][- ROUND RED LIGHT -(MP3)- [Post-Tone Records, 2011] -Album Review -

With his debut recording composer/guitarist Dave Juarez turned left from center to record “ROUND RED LIGHT" and join the promising and compelling new voice in jazz Post-Tone Records. The LA based label has caught the eyes, ears and attention of young, creative and innovative musicians globally by the dozens and Dave Juarez is positively one artist I’m sure jazz enthusiast on the modern jazz tip will absolutely love!
“MONTPELLIER VIEW" opens this exciting yet playfully invigorating romp of this nine song collective features Seamus Blake – tenor sax, John Escreet – piano, Lauren Falls – bass and Bastian Weinhold on drums breathe life into this mesmerizing journey.
The title “ROUND RED LIGHT" is a ballad showcases the Barcelona native’s sensitive, tonality and ability to chronicle the attributes of players like Benson or Montgomery with grace and symmetry.
At the third position, there’s “LONELY BROOKLYN." It burns with rapid speed and dexterity, the infallible interplay by the ensemble employs Juarez’s poetic, generous and unsurpassed chops effortlessly.
Juarez switches directions sonically with another tasteful ballad appropriately titled “The Echo of Your Smile." I love it when music draws my attention away from the typical canvas and distinctly swirls attuned ideas among the corresponding voices and affectively engage in unblemished interplay as soloist.
Lauren Hall on acoustic bass along with Juarez and Blake speak effortlessly as one voice, they are unhurriedly aroused by their lush, sobering and flexible tones which are heighten from within the center of “BELLEZA ANONIMA" is breathtaking. The group turns up the heat with the uplifting and hard hitting straight ahead gem called “SEROTONINA." Although gifted, Juarez’s soulful, inventive and balanced approach is a springboard to his ability to score attractive, compelling and listenable compositions.
“LUNA NOCHE OSCURA DEL ALMA" fits the description of being poise, intense and listener friendly. Pianist John Escreet as a soloist accents the progressive undertones on this impressive piece composed by Juarez.
Juarez’s love and compassion for Spain is thoroughly expressed on “LUNA DE BARCELONA." In essence, he experiments with a variety of shapes, textures and rhythms are the conduit to the edger side of his compositional voice makes this gem one of my favorites thus far.
“RNP" is somewhat of a departure of what’s already deemed as an excellent adventure thus far. This eleven plus minute gem closes out this extensive session of highly energetic songs to unwavering lush arrangements attached to intractable fusion tendencies showcases the impressive interplay by this powerfully engaging ensemble is what modernist, jazz connoisseurs and fusionist live for musically.
His peers view Dave Juarez as “a jazz guitarist with something to say." Yes, he’s done a brilliant job compositionally and artistically to express his ideas through the body of these nine originals. When I hear jazz shaped with such a prevailing and insightful blueprint … I’m simply thankful. It’s not often you hear recordings balanced with virtuous ideas in a variety of shapes, colors, tempos and tonality as expressed on “ROUND RED LIGHT." –Rob Young | Reviewer