When noise or other unpleasant sounds are superimposed with white noise, the human ear perceives them as less loud and disturbing. This healing principle from psychoacoustics can be wonderfully transferred to music - as bassist Martin Wind impressively demonstrates. Born in Flensburg, Wind is one of the German figureheads in the New York jazz scene. For his album "White Noise" he has brought two "jazz icons of the highest order" into the studio. Philip Catherine, for many critics - besides John McLaughlin - the most respected guitarist in Europe. And the Dutchman Ack van Rooyen, whose warm, soft tone on trumpet and flugelhorn are his unmistakable trademark. "In a world in which silence is becoming more and more of a luxury, I wanted to set a small acoustic antipole. A kind of oasis of sound where the audience can lean back and relax and let the music take effect undisturbed," Wind explains the concept of the album - the quietest in his discography to date.
