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Black Dog Groove Society -Dog Dance

Feature Jazzthetik Juni 2026

Review: Black Dog Groove Society – Dog Dance

There is music that is in motion from the very first moment. Not because it wants to be loud or spectacular, but because its groove emerges so naturally that it is almost impossible to resist. This is precisely the energy that shapes Dog Dance, the second album by the Black Dog Groove Society.
Following their debut Fetch the Stick, the quartet seamlessly builds upon their musical vision and consistently develops it further. At the core is a distinctive band sound that blends the warm timbre of the Hammond organ with modern jazz, soul, and funk. The result is music that is powerful, melodic, and full of rhythmic sophistication all at once.
The band—Katharina Maschmeyer, Nils Pollheide, Dirk Schaadt, and Hardy Fischötter—does not see itself as a backing ensemble for individual soloists, but rather as a perfectly attuned unit. Each musician is given the space to contribute their own ideas without ever losing the shared musical flow. It is precisely this balance between individual expressiveness and collective music-making that makes the album so uniquely appealing.
The original compositions thrive on an impressive lightness. Rhythmic figures evolve organically, while melodic themes are picked up, transformed, and carried forward with great joy of playing. The solos never feel like mandatory exercises or technical demonstrations; instead, they emerge naturally from the musical context. You can feel how closely the musicians respond to one another and how much trust is embedded in this interplay.
Particularly remarkable is the natural fusion of groove and musical substance. Dog Dance certainly invites you to tap your feet or even dance, but it also opens up an intense listening experience for anyone who wants to dive into the many details of the arrangements and improvisations. Beneath the immediate energy lies a carefully crafted musical architecture. Above all, however, this album conveys something that cannot be composed: genuine joy in making music together. This enthusiasm is directly transmitted to the listener, giving the music its infectious vibrancy. Nothing feels routine or predictable. Instead, every track unfolds with openness, creativity, and palpable passion. Dog Dance is an album full of energy, clever compositions, and outstanding improvisations.
Black Dog Groove Society impressively proves that groove and musical depth are not contradictions. Anyone who appreciates jazz infused with soul, funk, and a healthy dose of playing passion will find a great deal of joy in this album.
(Jacek Brun, July 16, 2026) – jazz-fun.de

Black Dog Groove Society - Dog Dance

"A Hammond organ always just sounds mega-cool and somehow also like a good mood. Therefore, you cannot help but have a wide grin on your face right from the first bars of this new album. Black Dog Groove Society features saxophonist & bass clarinetist Katharina Maschmeyer, guitarist Nils Pollheide, drummer Hardy Fischötter, and Dirk Schaadt on the big, smacking keyboard monster—the one that always makes all the bandmates invisibly vanish just before unloading the van prior to gigs. Or they have backaches. Back to the music: This band swings and pulses, above all thanks to the incredible drive of Hardy Fischötter, absolutely timelessly, with incredible energy. Although the classic organ trio with drums and guitar naturally never escapes a certain traditional flair. Well, Tony Williams‘ band Lifetime in the lineup with Larry Young and John McLaughlin was likely the great, never-again-reached exception in jazz history. Organ player Dirk Schaadt has worked alongside his own trio with artists such as Sydney Youngblood, Marla Glen, Molly Duncan (Average White Band), Mirja Boes, and Tom Gaebel, both live and in the studio. Hardy Fischötter was already playing in the legendary Cologne 'Franck Band' back in 1988. From 1989 to 2013, he was a member of guitarist Susan Weinert's trio and also played with Charlie Mariano, Richard Bona, Henrik Freischlader, Larry Carlton, Cosmo Klein, and Ali Claudi. Guitarist Nils Pollheide and saxophonist Katharina Maschmeyer have long been an artistic team, and they harmonize perfectly here once again. Pollheide is the one who most clearly lets contemporary ingredients flow into the band's sound. The best example of this is his composition 'For Sco,' which leaves no questions unanswered. With a slightly overdriven tone, he chases virtuously, bluesily, and boppily through the John S.-inspired track. Followed by Katharina Maschmeyer, who goes off with similar energy on the tenor saxophone. A great musician. 'The pieces are influenced by contemporary jazz musicians like Seamus Blake, Joshua Redman, John Scofield, Larry Carlton, and Larry Goldings; on the other hand, elements of 1950s–1960s Blue Note legends like Hank Mobley, Grant Green, and Larry Young can also be found,' I read in the album's liner notes. Black Dog Groove Society as a formation possesses the talent to fuse these artistic influences from a good 60 years of jazz history with a clear common thread. This second album by the band has perhaps taken yet another step forward—and it sounds very good, too. It was recorded in the band's own 'Confusing Cats Studio' in Osnabrück, and it was recorded and mixed by Nils Pollheide. Good job." - Lothar Trampert / guitar-player.com

Album reviews and concert-reports:

SOME GERMAN AND ENSLISH REVIEWS: BLACK DOG GROOVE SOCIETY - Fetch the Stick „Dieser Name ist Programm: Das Quartett aus Osnabrück und Köln verfügt über jede Menge Groove. Saxofonistin Katharina Maschmeyer und Gitarrist Nils Pollheide sind bereits seit langem musikalische Partner. Ihr gemeinsam geführtes KaMa Quartet sorgte zuletzt mit einem John-Coltrane-Tribut für Aufsehen. Für ihr neues Album holen sie nun Dirk Schaadt an der Hammond-B3-Orgel und Schlagzeuger Marcus Möller in Boot. In den sechs energiegeladenen Kompositionen aus Maschmeyers und Pollheides Feder gibt mit Soul getränkter Jazz den Ton an. Die Kombination aus Saxofon und Hammondorgel ist wie bei Stanley Turrentine und Jimmy Smith unwiderstehlich. Das Quartett muss diesen Vergleich keinesfalls scheuen, fügt aber durch kreative Komposition und pointiertes Gitarrenspiel eine eigene, lässige Note hinzu. Der schwarze Labrador-Mix Wicky, der stilisiert auch das Cover ziert, inspirierte neben dem frenetischen Titelstück weitere Songs wie Mr. Sniffing Nose und The Viking. Die Hammondorgel glänzt durchgehend mit souliger Coolness, während auch die anderen Musiker genug Raum bekommen, um ihr Können zu zeigen. Von Pollheide selbst gemixt und gemastert, überzeugt die LP mit klarem Klang und einer ausgewogenen Balance zwischen den einzelnen Instrumenten. Fetch The Stick ist ein hervorragendes Album, das vor allem Jazz-Fans mit einer Vorliebe für groovige Rhythmen gefallen dürfte.“ Mint - Diana Biernat -------------------------------------------------------------- Black Dog Groove Society – Fetch The Stick (oscarson) Hat man sich erst einmal die „Groove“-Begrifflichkeit im eigenen Bandnamen einverleibt, bleibt einem gar nichts anderes mehr übrig, als eben jenen Groove auch in die Tat umzusetzen, zu zelebrieren, so geschehen auch beim gemeinsamen Projekt von Saxofonistin Katharina Maschmeyer und ihrem langjährigen musikalischen Wegbegleiter, Gitarrist Nils Pollheide und Schlagzeuger Marcus Möller, Hammond-Streichler Dirk Schaadt sowie und nicht zuletzt Wicky (The Viking), der im Zentrum stehende schwarze Hund, das augenzwinkernde Maskottchen der Society, die als Black Dog Groove Society sich eben genau diesem Groove hingeben (der SOUL TRAIN @ soultrainonline.de berichtete bereits über die meisten der genannten). Dass das Album selbstredend unter dem Schirm des Jazz-Kosmos firmiert, versteht sich dabei von selbst, jedoch sind es gerade die zwei roten Fäden aus cooler Funk-Retrospektive und unbedingten Soul-Harmonien, die hier das nach vorne drückende Treiben bestimmen: Gerade die cool wabernde Hammond-Orgel Schaadts und die pointierte Saxofon-Dextrose aus den routinierten Händen von Maschmeyer ergeben eine Mischung, die dem Projektnamen Black Dog Groove Society alle Ehre machen und das von Nils Pollheide und Katharina Maschmeyer gemeinsam produzierte Werk erst so richtig zum erbeben bringen. Sechs Kompositionen aus der Feder Maschmeyers und Pollheides (Vinyl-LP) ergeben hier eine volle, drückende und unglaublich lebendige Mischung, die Freunde retrospektiver Hammond Jazz- und Funk-Werte, die in Wertegemeinschaft mit Sixties Soul und sogar dem, was wir heute als Deep Funk bezeichnen, leben, begeistern wird und überdeutlich ins Ohr aber vor allen Dingen ins Kopfnicken und in die Füße geht – Jimmy Smith und Jimmy McGriff, um nur zwei der ganz großen Hammond-Ikonen zu nennen (der SOUL TRAIN berichtete viele male über beide), lassen grüßen. Dass sich „Fetch The Stick” inklusive raffiniertem Cover-Artwork zwar immer wieder, dann aber zeitlich durchaus limitiert im Mainstream Jazz aufhält und vielmehr die retrospektive Reise durch fünf Dekaden Jazz-, Soul- und Funk-Groove hörbar organisch genießt macht das Album nicht nur zu einem echten Hinhörer in Sachen Black Music-Entertainment sondern auch zu einem Paradebeispiel für die Wirkung, die Jazz erzielen kann, lässt man nur den, und damit kehre ich zum Anfang dieser Besprechung von „Fetch The Stick“ der Black Dog Groove Society zurück, eigenen, sozusagen ganz natürlich vorkommenden Groove seine Arbeit machen und den viel zitierten stilistischen Tellerrand Tellerrand sein – coole Sache. © Holger S. Jansen soultrainonline.de -------------------------------------------------------------- Black Dog Groove Society - Fetch the Stick Saxofonistin Katharina Maschmeyer und Gitarrist Nils Pollheide sind der kreative Kern des KaMa Quartet, das spätestens seit ihrem Ludwigsburger „Studio Konzert“ mit dem Tribut an John Coltrane (AUDIO 12/17) in audiophilen wie in Jazz-Kreisen Furore macht. Mit Drummer Marcus Möller und Organist Dirk Schaadt haben die beiden nun ein weiteres Kollektiv begründet, dessen Name Programm ist: Black Dog Groove Society lässt es mal entspannt, mal richtig knackig grooven. Schaadt legt mit seiner Hammond B3 den souligen für Maschmeyers immer jazzige, nie nervige Soli und Pollheides bärenstarkes Brett-Spiel. Der Gitarrist nahm auch auf, mischte und masterte - alles prima. - Stereoplay -------------------------------------------------------------- Black Dog Groove Society - Fetch the Stick "Lust auf groovigen Jazz? Ok, man könnte jetzt Schallplatten von Jimmy Smith, John Patton oder Stanley Turrentine auflegen. Oder vielleicht doch etwas Neues? Da kann ich dir eine LP der angesagtesten Formation der europäischen Jazzszene anbieten: „Fetch The Stick“. Unter dem Band-Namen Black Dog Groove Society verbergen sich keine Geringeren als die Saxophonistin Katharina Maschmeyer und ihr langjähriger musikalischer Partner Nils Pollheide, die mit ihrer letzten LP „A Love Supreme / Universal Tone“ (KaMa Quartet) bei Kritikern und Experten viel Lob ernteten. Mit dabei waren bei der Einspielung von „Fetch The Stick“ Dirk Schaadt an der Hammond B3 und Marcus Möller am Schlagzeug. Die Orgel prägte den Sound dieses Quartetts maßgeblich, ihr knarziger Ton kommt bei der Aufnahme gut rüber und vermittelt einen Charme, der tatsächlich an klassische Blue Note-Scheiben der 60er Jahre erinnert. Die sechs Stücke mit teils über 7 Minuten Spielzeit sind recht melodisch angelegt, in kompakten Band-orientierten Arrangements mit Solo-Einlagen. Das kommt dem Groove sehr zugute, die LP hat einen extrem hohen „Mitwipp-Faktor“!" - VINYL Fan -------------------------------------------------------------- "Puts her own musical mark on John Coltrane's revered suite 'A Love Supreme', interpreted through the lens of her own, individual experiences and veering far off the original's sonic world: Katharina Maschmeyer." - JAZZ PODIUM "With her intricately oscillating post fusion album, Katharina Maschmeyer and her delicate, immensely agile KaMa Quartet bridge the gap between Coltrane’s time and the present in a very impressive way, thus positioning her band as a strong German jazz ensemble.“ - JAZZTHETIK / Deutschlandradio Kultur "The saxophonist with the powerful sound is lauded as one of the best new German jazz artists, and rightly so...“ - JAZZ THING “The top-class German quartet has already proven their abundant creativity and refreshingly original band sound on four impressive releases. For this reason, it is more than just okay to offer “A Tribute To John Coltrane“ , following the powerful spiritual traces of the master of masters. This undertaking was a complete success and floors us with fiery improvisations and eruptive explosions of energy.“ - CONCERTO magazine "The band leader, guitarist Nils Pollheide, keyboard player Philipp Rüttgers, drummer Jens Otto and guest percussionist Nippy Noya have rhythmized and spiced up the original quite a bit, adding some inspirational fire to it instead of watering it down." - BR (Bayerischer Rundfunk) "Katharina Maschmeyer is an incredibly talented saxophonist with a tone some players spend a career searching for and never find. A Stan Getz sense of minimalism can be found in her approach along with the soulful bent of a Houston Person, nice combination! (...) Neuklang continues to serve up only the finest talents Europe has to offer and the Katharina Maschmeyer Quartet is no exception!" - Brent Black/www.criticaljazz.com ALBUM "A LOVE SUPREME / UNIVERSAL TONE" (Neuklang 2016) • featured in the „The best albums of 2016“ by „Die Zeit“ magazine • listet in the "25 best albums of the year 2016" in blog.about-music.de • featured on BR (Bayerischer Rundfunk) • Album of the Week on NDR Info Play Jazz • “Highlights in September“ at Deutschlandradio Kultur • features in Jazz Podium & Jazzthetik magazines Studio concert review (excerpt): Manfred Krug (www.vinyl-fan.de) KA MA QUARTET - LIVE AT BAUER STUDIOS LUDWIGSBURG “…What awaited my two companions and photographer Andreas Carl and me on that day was anything but predictable. I was already convinced of Katharina Maschmeyer and her band’s exceptional live qualities that I had the pleasure of witnessing at our record stand during the Krefeld Analog Days (Krefelder Analogtage). It was there that the quartet performed a session that left the AAA-audience in stunned awe. I already knew these four musicians would be at the top of their game. And yet I was skeptical, because what the master John Coltrane put on tape in one session on Dec 9, 1964, is absolutely unique and cannot be replicated. For this reason, I was respectful of the for young musicians’ undertaking of such an enormous task. Bringing 71-year-old Indonesian percussion legend Nippy Noya on board was probably more than just the icing on the cake. During their “A Love Supreme / Universal Tone“ tour across Germany in 2017, the quartet stopped by in Ludwigsburg to record a very special live performance of their set. It is a production done fully analog, completely old-school, that will come out on vinyl… …“Acknowledgement“! The be-all-and-end-all first part of Coltrane's legendary suite, containing the famous “A Love Supreme“. The guitar riff transported the suite’s theme into the present, turning out strikingly rocky and funky…and Katharina Maschmeyer added tenor sax accents that catapulted us right back into the 1960s. It’s amazing how this young musician is able to coax such sounds out of her instrument! Following a break (the transition to the next piece “Resolution“), the musicians became more quiet, preparing the moment for the (brilliant) bass clarinet and guitarist Nils Pollheide! What we heard here (and during the entire performance) had a definite Carlos Santana-esque quality! The high point of this piece was the battle between drums and sax (this time it was tenor again) - goosebumps! Enter Nippy Noya - he demonstrated impressively why he is one of the best percussionists in Europe. His intro for “Pursuance“ was captivating and spellbounding, a perfect entry point that left everyone momentarily speechless. The middle part was energetic and invigorating, transitioning into an overall calm soundscape on “Psalm“. Philipp Rüttgers switched from keyboard to piano, playing soft chords that gave the piece a dreamy atmosphere. However, the band did not remain in this serene mood, but crescendoed into a more intense tempo and volume before reaching a mellow conclusion… The audience showed its appreciation with an extended applause… The record will take some time before it is finished, but I am sure that the waiting will be worthwile. I'm very much looking forward to it! - Manfred Krug (www.vinyl-fan.de) Read the full review here: http://www.vinyl-fan.de/blog/354-live-aufnahme-analog-eine-schallplatte-entsteht.html

New features "A Love Supreme / Universal Tone" incl. interviews in Jazzthetik & Jazz Podium (2016):

There is a great story about the studio concert series of the Bauer Studios in magazine stereoplay!

With titel CD including 16 tracks, one also of the Katharina Maschmeyer Quartet!

Features concerning the new Album "Duck On Ice, Flying Cow" from magazin Jazz Podium, Sonic and Jazzthetik (2014)