Jazz Tied – The Unique Music Magazine from Hamburg

Almost every band dreams of standing in front of the camera and having their music professionally produced, right? Especially in jazz, strong references are extremely important – for the next album, the next booking, or the next step in a career. This is exactly where Jazz Tied comes in. The deeper you look behind the scenes, the clearer it becomes why this format is something special.

Recently, when I added the Jazz Tied link to the homepage of the Jazz Federation Hamburg, I took the opportunity to reflect on the format again – not least because I was also preparing for the video editing of the Pale Blue Dot release from October. One simple but exciting question arose for me:

Is there really a comparable video jazz magazine in Germany – or are we operating in a genuinely unique space?

So, I looked around. Of course, there are strong productions, dedicated editorial teams, and excellent content – even in jazz. But a format that regularly combines high-quality studio live sessions, professional sound, multiple camera angles, and real interviews within a clear magazine framework is surprisingly rare.

The closest comparison might be Jazzit Magazin from Salzburg. A great project produced in collaboration with Freies Fernsehen Salzburg, presenting international artists and also available on YouTube. The sessions are high-quality productions, mostly without an audience, and – similar to us – operate in a very specialized, jazz-focused environment.

Also worth mentioning is JazzrockTV from Cologne: a free online video channel focusing on jazz-rock and fusion. Live concerts, interviews, and studio sessions are combined here, often recorded in one take. Musically focused, technically solid, with its own character.

Then there are formats like Little Big Beat in Liechtenstein – an impressive studio using analog equipment with a small, attentive audience. Internationally known, excellently executed, but not strictly a German jazz magazine in the narrower sense.

And of course, there are public broadcasters: ARD Jazz as a strong audio format, supplemented by high-quality concert recordings in the ARD Mediathek and on ARD Kultur. Productions like WDR’s recordings of the Leverkusen Jazz Days impressively demonstrate the level of work, though without the ambition of a continuous, independent video music magazine.

All of these are important, valuable contributions to the jazz landscape. But each follows different focuses, goals, and production logics.

What became very clear to me during this research: Jazz Tied is strongly rooted in Hamburg for good reason. While many formats think internationally or at least regionally, Jazz Tied tells the stories of Hamburg’s jazz scene – and makes them visible, for the local audience as well as jazz lovers far beyond the city limits.

At the same time, each episode represents an enormous effort. You don’t always notice it immediately, but once you look behind the scenes, you understand why formats like this are not common. Three or four cameras. Dozens of microphones. Direction, editing, lighting. Planning, soundcheck, hosting – and complete post-production afterward. It’s highly demanding. And all of this is done so that, in the end, it sounds and looks exactly as it should.

In other words: there’s a whole team behind it. And you can see and hear that.

Of course, I also wondered what we could learn from other productions. The idea of recording studio sessions with a live audience, like at Little Big Beat, is extremely appealing – immediately reminding one of legendary Snarky Puppy sessions. At the same time, it’s clear this would require significantly more organizational and technical effort.

Another thought was about visibility: if we are already producing high-quality content, why not amplify it beyond Hamburg? In partnership with regional media, platforms, or networks. Not to abandon the local focus, but to give musicians from our city an even bigger stage.

And yes, there may also be potential to attract a younger audience with this format. Exactly how remains open. But the very question shows how much room for development Jazz Tied has.

A small anecdote to finish: recently, I visited the Theaterstübchen in Kassel on a Wednesday and got a behind-the-scenes look. The sound engineer showed me the equipment – impressive. Multiple cameras, live feeds to monitors in the club, a full concert recording with picture and sound. After the concert, he offered to let me download the finished video directly. Everything was already there.

This shows what is technically possible today. But technology alone does not make a music magazine. It takes vision, editorial sense, a feel for music – and people willing to put in the effort.

Jazz Tied is no accident. It is the result of hard work, passion, and a clear commitment to quality. In this combination – regular video jazz magazine, high production standards, editorial framework, and strong local focus – Jazz Tied is something very special in the German jazz landscape.

Or simply put:

When you hear this band play, you can tell – they have practiced.

And when you watch Jazz Tied, you realize: jazz here is not just documented, it is taken seriously.

If you haven’t yet explored the magazine, be sure to check it out – on the Jazz Federation Hamburg website or the YouTube channel TIDETVHamburg.

It’s worth it!