Anyone who didn't know this before will be amazed. And into rapture! Marcus Bartelt impressively proves that a baritone saxophone is far more than "just" a second instrument that adds the sonorous sound part to the woodwind section of a big band. The already outwardly powerful instrument with its warm, low register has long been ripe for the leading role - provided it sounds as elegant and light-footed, melodically swinging and improvisationally surprising as it does with Marcus Bartelt.

Marcus Bartelt is a passionate big band player who also plays other woodwind instruments, tenor saxophone, flute and bass clarinet. He has been a member of Bob Brookmeyer's New Art Orchestra, played with the Lionel Hampton All Star Celebration Band, and in most, if not all, of Germany's renowned radio big bands. Without him, DE PHAZZ would lack that crucial sound, and without him, above all, there would be no brilliant Cologne Contemporary Jazz Orchestra, which Bartelt founded 20 years ago and which remains one of the outstanding large-scale orchestras to this day.

Bartelt's debut CD as leader was released in 2002, and "Happy Weeks" in quintet formation was followed in 2012 by "Into the Blue," another quintet album. Now, another ten years later, "At Ease" follows - and one wishes that the time intervals between Bartelts albums would become much shorter from now on. "At Ease" rests deep within itself, unfolding a dramaturgically cleverly constructed musical kaleidoscope that lets the roots of bebop sprout in many directions. And can hardly be surpassed in playful lightness. "At ease", relaxed like the title opening track: at the beginning baritone saxophone and double bass negotiate the direction, cool and yet full of passion the swinging intensity increases afterwards. A perfect opener of casual elegance: you feel you have arrived.

Five more original compositions by Marcus Bartelt follow, including the fiercely propulsive, soulfully undercut "The Fox" with splendid solos by saxophone and piano, racy tempo changes and a rhythmic dynamic like something out of a stylish TV serial thriller of the sixties. "Brew's Cruise" is then a step faster, without losing originality, precision and feather-light fabulosity.

Probably with full intention, the intimate ballad "The End" stands in the center of the album, as a formidable link that interlocks everything and puts it into relation. One thinks to hear slight traces of "Lush Life", while the blues-emphasized piano is followed by a no less impressive bass part. The bass also leads as a baseline through "Uzume's Dance" with vital soloistic performances - completely in the sense of the dancing Japanese deity of merriment Uzume.

Again and again Marcus Bartelt exploits the power and volume, the "warming" roughness and the dark sounds of his instrument. That this cannot be done without his companions Martin Sasse, Martin Gjakonovski and Joost van Schaik is felt in every moment - cheers to "All Those Cats", to quote the album title of another baritone colossus, Sahib Shihab, to whom Bartelt sometimes seems to pay his respects. The two foreign compositions also take bows: "The Wailin' Boat" cruises through bluesy washed-out waters in the footsteps of Zoot Sims, the final "Does The Sun Really Shine on the Moon?" frees the melody from earlier string burdens and works out its pure beauty in the ravishing dialogue of baritone sax and cello. Profound, touching and always highly entertaining like the whole album: At Ease!