200 participant from all over Poland , Germany and for the first time from Canada took place at this great event.
Instrument classes, combos, Big Band , Jam sessions, concert masterclasses- a great package of info and entertainment for all….since 1991 HpS is teaching on the Polish Jazzscene starting at ,,Pulawy Jazz workshop in coop with Goetheinstitut…. here are some highlights during this years Cho Jazz 2026
opening night at the cinema 19.07
Jam Session Opener 23.07
Michael Jaros Bass
Kuba Cichocki Piano
Rafal Sarnecki Guitar
Drums
HpS Trumpet & Effects
joining Darren Pettite Quartett feat Hans Peter Salentin for a concert 27.07
feat
Adam Zagorski Drums
Jan Paldyna Piano
Jakub Skiba Bass
Darren Pettite Tenor
and HpS Trumpet
Combo night with my 2 combos 29.07
first combo played my song ,, Luca”
Jennifer Felux -Alto,
Ania Poznanska-Piano,
Bartosz Karkocha -Guitar,
Kordian Araucz-Drums,
Adam Namyslowski-Doublebass,
Ola Mielczarek- Vocal ( & Lyrics)
and HpS on Tp.
second combo played my new song ,,5 ways to heaven”
just composed right before the workshop
Jan Blachut-Piano,
Filip Rak -Drums,
Mateusz Dorobek-sax,
Lena Andrzejewska-Bass,
Jan-Jakub Birakowski -Guitar,
Aleksander Witucki -Guitar
and HpS Trumpet…
my Trumpet class at Cho Jazz 2026
quite small – first time in all those years…
i wrote some tp-lines on standarts and did single lessions in the second week
Final concert 31.07
,,short adventure“ with fantastic musicians
Rafal Sarnecki Guitar
Pawel Dobrowolski Drums
Andrzey Swies Bass
Kuba Cichocki Piano
HpSalentin Tp
Teachers at Cho Jazz
it was a big pleasure for me to play with you guys or just to listen to your music or just to loose in chess 🙂 thxs for great time at CHO Jazz 2026
big thank you to all stuff !
Wow ..56 Cho Jazz workshop is done
thxs goes to many people :
Janusz ,
Rafa ,
Marcin Kita ( who does very important job !)
the ,, Kadra“
and to the stuff from Dom Cultury ..
Soundguys,
secretariat,
photographer,
all other workers ,who support us doing their job and makes our life easier ….
I had a very good time , many talks
and first of all :
I met a lot of young people and we share the passion for music
… jazz and beyond…
the final concert was joy for me to listen to all and the sax teachers nailed it !
Cologne, Germany – May 27, 2026 – Acclaimed German jazz duo Salentin & Scheffler today announced the release of their highly anticipated new album, Prime Time, a sophisticated 11-track collection that celebrates the elegance and emotional depth found in unconventional rhythms.
Known for their refined approach to contemporary jazz, HP Salentin (horns) and Hans Scheffler (keyboards) have crafted an album that transforms complex time signatures — including 6/8, 5/4, 7/8, and 11/8 — into music that feels remarkably organic and natural. Rather than sounding experimental or forced, the tracks on Prime Time flow with an effortless musicality, proving that odd meters can be as swinging, lyrical, and emotionally resonant as standard 4/4 time.
A standout moment on the album is the track “Out of Time,” a compelling 10-bar blues rendered entirely in 11/8 and built on rich sus13 harmonies. Guitarist Gundy Keller delivers a stunning, expressive solo that highlights both technical brilliance and deep musicality.
Hans Scheffler produced and arranged all tracks, creating spacious, dynamic frameworks that allow the music to breathe. HP Salentin contributed all horn parts, adding warmth, lyricism, and vitality to every composition.
“With Prime Time, we wanted to show that odd time signatures don’t have to feel odd,” said Hans Scheffler. “These rhythms can be beautiful, danceable, and deeply human — especially fitting for the strange and unpredictable times we’re living in.”
Prime Time is positioned as the perfect soundtrack for our current era — a musical reminder that complexity and beauty can coexist harmoniously.
The album will be available on all major streaming platforms and in physical format starting June 2026.
Hans Peter Salentin and the architecture of modern jazz production In an era where jazz increasingly intersects with production aesthetics, Hans Peter Salentin operates in a space between instrumental tradition and studio authorship. His work blends trumpet vocabulary with layered sound design, drawing as much from jazz lineage as from contemporary production logic. The Cologne-based artist has quietly built a catalog that resists categorization—yet remains deeply rooted in groove, tone, and narrative form.
JP: You’ve spent years working internationally, especially in Eastern Europe and Israel. How does geography translate into sound?
Salentin: Music doesn’t exist in isolation. Cities like Kyiv or Tel Aviv have a different rhythmic density, a different emotional temperature. I don’t quote that directly—but it shapes phrasing, pacing, even harmonic decisions.
JP: You released your first LP “Jumpin” at 24. When did production become central to your work?
Salentin: That shift came when Greg Badelato asked why I hadn’t documented my music on CD. That question pushed me into production. Early on, I financed everything myself—so I had to think like both artist and producer from the beginning.
JP: Your albums vary significantly in sound and structure.
Salentin: That’s intentional. I don’t see recordings as documentation—I see them as compositions. Some records are tracked live, others are constructed layer by layer. Today, the studio itself is part of the instrument.
JP: Where do you locate your music stylistically?
Salentin: “It’s about accessibility without simplification.”
There’s always a groove foundation—but I’m interested in subtle disruptions. Small shifts that change perception. In the U.S., people might call it Wave-Lounge, but that’s just a loose frame.
JP: You work closely with specific engineers.
Salentin: Yes—Hans Jörg Scheffler and Taato Gomez are crucial. Especially with Taato, there’s a shared understanding of space, frequency, and depth. That’s not just technical—it’s musical.
JP: Your albums often follow conceptual arcs.
Salentin: I think in images. “Nothing but Happiness” came from a conversation with a dancer—so the music had to leave space for movement. It’s less about melody and more about kinetic potential.
JP: On “Arrivals,” the flugelhorn plays a central role.
Salentin: The flugelhorn has a different envelope—softer attack, more vocal quality. But the trumpet still gives me articulation and edge. I need both to define the full spectrum.
JP: Your recent releases move between concept and tradition.
Salentin:
“Music for My Movies” explores imaginary film scoring
“Back to the Roots” revisits the GRP aesthetic—updated sonically
“The Summer Knows” reinterprets material by Duke Ellington, Bill Evans, and Michel Legrand
The idea is not to modernize superficially—but to re-contextualize.
JP: What’s your perspective on streaming culture?
Salentin: Streaming removes the physical dimension. And with that, part of the artistic narrative disappears. Albums used to exist as complete statements—now they’re often fragmented.
JP: What’s next?
Salentin: I’m currently working with Usein Bekirov, who recently collaborated with Randy Brecker. And there are multiple productions already in development.
Hans Peter Salentin, one of Europe’s most distinguished jazz trumpeters and acclaimed composers, presents his new album „The Summer Knows“—nine timeless compositions by jazz masters, freshly arranged with a groovy, chilled vibe while preserving the beauty of the originals. Each of these pieces has accompanied Salentin on his artistic journey, holding a special place in his heart.
From Michael Brecker’s „In a Sentimental Mood“ to Tom Harrell’s „The Touch of Your Lips“ and John Coltrane’s „Giant Steps“, these tracks are not only musical masterpieces but also expressions of deep artistic connection. Of particular note is the inspired collaboration with Taato Gomez, with whom Salentin has realized numerous productions, including the million-stream Spotify hit „Landscape“ and the recent album „Music for My Movies“.
A Bridge Between Tradition and Innovation
On „The Summer Knows“, Salentin blends the energy of groove, the ease of chill, and the depth of jazz. Highlights include his versatile solo performances—from the electric bass solo in „In a Sentimental Mood“ to the vibraphone in Bill Evans’ „Periscope“. This music is a labor of love for Salentin, brought to life through his partnership with Taato Gomez.
For Jazz Aficionados and Newcomers Alike
Hans Peter Salentin is not only a trumpeter and composer but also a former professor of jazz trumpet, combo, and big band at the Würzburg University of Music, and the founder of Dewey Records. His versatility and innovative style make „The Summer Knows“ a unique listening experience—for anyone who loves jazz or is discovering it for the first time.
Experience Jazz Classics That Move and Inspire—Reimagined by Hans Peter Salentin
About Hans Peter Salentin
Hans Peter Salentin is a renowned German jazz trumpeter, composer, and music producer. Celebrated as one of Europe’s leading trumpeters, he is praised for his melodic, „real-time composed“ style, blending influences from Miles Davis to modern fusion.
With 40 years of teaching experience, including 25 years as a professor at the Würzburg University of Music, Salentin has released over 40 albums under his own name. His work spans jazz, lounge, and film music, with recent releases like „L’amour“ (2025) showcasing his versatility between jazz and world music.
Salentin has performed with jazz legends such as Chick Corea, Branford Marsalis, Bob Mintzer, and John Scofield. He has also toured in Poland, Ukraine, Russia, and Israel, often in collaboration with the Goethe Institute.
As the owner of Dewey Records, Salentin is known for his innovative use of electronic effects to expand his trumpet sound. He plays exclusively on instruments by Dutch manufacturer Adams Brass.
CD-Info in Deutsch Hans Peter Salentin – „Back to the Roots“
Erscheinungsdatum: 1. März 2026 Label: Dewey Records
Mit „Back to the Roots“ präsentiert der international renommierte Jazzmusiker und Komponist Hans Peter Salentin seine dritte Veröffentlichung in diesem Jahr. Das Album vereint 11 Jazz beeinflusste Pop-Stücke – von groovigem Chill-Out bis zu funkigen Rhythmen. Alle Kompositionen stammen aus der Feder des Trompeters und Flügelhornisten, der sich von großen Vorbildern , zB.wie dem jamaikanischen Trompeter Tom Braun, Chris Botti und Rick Braun inspirieren ließ.
Die Aufnahmen wurden von Hans Jörg Scheffler (Sounddesign) abgemischt, der dem Album einen modernen, klangvollen Charakter verleiht.
Hans Peter Salentin
Hans Peter Salentin, bekannt als „Echtzeitkomponist“, begann mit 11 Jahren Trompete zu spielen. Sein Studium absolvierte er von 1981 bis 1986 an der Musikhochschule Köln bei Jon Eardley und Manfred Schoof. Sein Spiel verbindet traditionellen Jazz mit modernen elektronischen Elementen und wird oft mit Miles Davis oder Nils Petter Molvær verglichen.
Salentin spielte mit internationalen Jazz-Größen wie Chick Corea, James Carter, John Scofield und Bob Mintzer, aber er konzertierte auch seit Jahrzehnten in Polen, der Ukraine, Russland und Israel-, oft in Zusammenarbeit mit dem Göthe Institut – Fast 20 Jahre lang war er Mitglied der Hausband der „Harald Schmidt Show“.
Von 2003 bis 2025 war er Professor für Jazz-Trompete, Combo und Big Band an der Hochschule für Musik Würzburg. Mit über 40 eigenen Alben, darunter „Music for my Movies“ (2024) und „Always Coming Back“, betreibt er seit 2010 sein eigenes Label Dewey Records.
„Back to the Roots“ ist ein Album, das die Vielseitigkeit und Tiefe von Hans Peter Salentins Musik zeigt – eine Reise durch Jazz, Pop und persönliche Geschichten.
and again and again …great and realy big Summer Workshop ( nearly 200 participants) in Poland–please get in touch with Stefan Volpert for guys from germany who are interessted…… all others :
CD-Info: Hans Peter Salentin – „Back to the Roots“
Erscheinungsdatum: 1. März 2026 Label: Dewey Records
Mit „Back to the Roots“ präsentiert der international renommierte Jazzmusiker und Komponist Hans Peter Salentin seine dritte Veröffentlichung in diesem Jahr. Das Album vereint 11 Jazz beeinflusste Pop-Stücke – von groovigem Chill-Out bis zu funkigen Rhythmen. Alle Kompositionen stammen aus der Feder des Trompeters und Flügelhornisten, der sich von großen Vorbildern , zB.wie dem jamaikanischen Trompeter Tom Braun, Chris Botti und Rick Braun inspirieren ließ.
Die Aufnahmen wurden von Hans Jörg Scheffler (Sounddesign) abgemischt, der dem Album einen modernen, klangvollen Charakter verleiht.
Hans Peter Salentin
Hans Peter Salentin, bekannt als „Echtzeitkomponist“, begann mit 11 Jahren Trompete zu spielen. Sein Studium absolvierte er von 1981 bis 1986 an der Musikhochschule Köln bei Jon Eardley und Manfred Schoof. Sein Spiel verbindet traditionellen Jazz mit modernen elektronischen Elementen und wird oft mit Miles Davis oder Nils Petter Molvær verglichen.
Salentin spielte mit internationalen Jazz-Größen wie Chick Corea, James Carter, John Scofield und Bob Mintzer, aber er konzertierte auch seit Jahrzehnten in Polen, der Ukraine, Russland und Israel-, oft in Zusammenarbeit mit dem Göthe Institut – Fast 20 Jahre lang war er Mitglied der Hausband der „Harald Schmidt Show“.
Von 2003 bis 2025 war er Professor für Jazz-Trompete, Combo und Big Band an der Hochschule für Musik Würzburg. Mit über 40 eigenen Alben, darunter „Music for my Movies“ (2024) und „Always Coming Back“, betreibt er seit 2010 sein eigenes Label Dewey Records.
„Back to the Roots“ ist ein Album, das die Vielseitigkeit und Tiefe von Hans Peter Salentins Musik zeigt – eine Reise durch Jazz, Pop und persönliche Geschichten.
CD Info: Hans Peter Salentin – “Back to the Roots”
Release March 1, 2026 Label: Dewey Records
With “Back to the Roots,” internationally renowned jazz musician and composer Hans Peter Salentin presents his third release this year. The album features 11 jazz-influenced pop tracks—ranging from groovy chill-out to funky rhythms. All compositions are by the trumpeter and flugelhornist, inspired by great role models such as Jamaican trumpeter Tom Braun, Chris Botti, and Rick Braun.
“Vibrant Soul” (feat. the voice) – a captivating homage to the soul of jazz
“Back to the Roots” – a piece that returns to the musician’s origins
“Neverending Road” – a heartfelt pop ballad capturing personal stories and memories
The recordings were mixed by Hans Jörg Scheffler (sound design), giving the album a modern, sonorous character.
Hans Peter Salentin – “L’amour” (Dewey Records, 2026):
A Vibrant Fusion of Jazz, Lounge, and Relaxing Groove
Hans Peter Salentin, the Germany-based composer and trumpeter, returns with “L’amour,” a luminous new release that celebrates the multicultural spirit of Paris through a prism of jazz, lounge, groove, and ethno influences. Recorded in September–October 2025, this album is a testament to Salentin’s ability to create different styles in music.
“L’amour” is a sonic journey that effortlessly blends the sophistication of jazz with the infectious rhythms of lounge and world music. Salentin’s trumpet, using also light electronic effects, soars over a rich tapestry of percussion, shimmering guitars, and lush keyboards, creating a sound that is as danceable as it is introspective. The first song, ,,like roses“ , in particular, embodies the joy and relaxing happines of Parisian life, with its playful melodies and dynamic arrangements.
All songs celebrate the Parisian lifestyle.
The production, handled by Digital Audio & HJ Scheffler, ensures a crisp, modern sheen while preserving the organic warmth of live performance.
Salentin’s compositions are accessible yet sophisticated, with hooks that linger and solos shows his musical passion . Again Storytelling at it’s best.
The music shows global sensibility with European elegance.
While “L’amour” excels in its relaxing mood, dance-friendly moments, it also shines in quieter, more reflective passages, showcasing versatility. The album’s strength lies in its ability to evoke a sense of place—Paris as a melting pot of sounds and emotions—without ever feeling derivative. The focus on melody and groove is a deliberate choice that pays off.
“L’amour” is a celebration of musical love to the city of Paris an the parisians.. It’s an album that invites repeated listens, perfect for both late-night lounges and sunlit afternoons. Hans Peter Salentin has crafted a work that is as joyful as it is artful, proving that his style of music can be both innovative and universally appealing.
A Musical Journey Through Imaginary Film Worlds: Music as Film Without Images
Hans Peter Salentin’s new album, music for my movies, is a fascinating experiment: twelve compositions conceived as soundtracks for films that (as yet) do not exist. Salentin, renowned for his ability to tell stories with the trumpet, creates a sonic universe that oscillates between jazz, electronic elements, and classic film music. Produced between January and December 2025, the album once again showcases the composer and trumpeter’s versatility and innovation.
Taato Gomez: The Perfect Collaborator
The album benefits greatly from its collaboration with Taato Gomez, who not only handled the mixing but also appears as a musician and singer (notably on Nothing Can Stop Us Now and Gospel Truth). Gomez’s instrumentation and vocals lend the tracks additional depth and atmosphere. In the title track, this collaboration results in an almost “danceable” quality, oscillating between hope and melancholy.
A Standout Duet
Another highlight is the duet The Princess Bride with Austrian violinist Gudula Gomez. Here, Salentin and Gomez perfectly capture the mood of the piece—one can almost see the images of the imaginary film unfolding before the mind’s eye. The music balances a quality that wavers between hope and melancholy.
An Album Like a Genre-Chameleon
On music for my movies, Salentin moves confidently through diverse musical worlds. At times, it evokes the mood of a dark noir thriller (Free Mind), at others, an epic adventure (Neaples), or an intimate character study (The Land of Saints). The trumpet remains the central narrative instrument—sometimes delicate and fragile, sometimes powerful and demanding, and occasionally electronically altered.
What’s particularly impressive is how Salentin gives each track its own identity without the album losing cohesion. The transitions feel organic, the dramaturgy thoughtful. It’s clear: here, someone hasn’t just composed music, but translated entire stories into sound.
A Small Masterpiece of Sonic Imagination
music for my movies is an album that invites listeners to dream. It proves that music alone can evoke images and emotions—without any visual support. Hans Peter Salentin and Taato Gomez have created a production that is both technically and artistically compelling. Those who embark on this journey will be rewarded with one of the most multi-layered albums of 2025.
– Eine musikalische Reise durch imaginäre Filmwelten
Musik als Film ohne Bilder
Hans Peter Salentins neues Album movies for my music ist ein faszinierendes Experiment: Zwölf Kompositionen, die als Soundtracks zu Filmen gedacht sind, die es (noch) nicht gibt. Salentin, bekannt für seine Fähigkeit, mit der Trompete Geschichten zu erzählen, schafft hier eine Klangwelt, die zwischen Jazz, elektronischen Elementen und klassischer Filmmusik oszilliert. Produziert zwischen Januar und Dezember 2025, zeigt das Album einmal mehr, wie vielseitig und innovativ der Komponist und Trompeter arbeitet.
Taato Gomez als kongenialer Partner
Das Album profitiert maßgeblich von der Zusammenarbeit mit Taato Gomez, der nicht nur für das Mixing verantwortlich zeichnet, sondern auch als Musiker und Sänger (u.a. Nothing Can Stop Us Now und Gospel Truth ) in Erscheinung tritt. Gomez’ Instrumentierung und Gesang verleihen den Stücken zusätzliche Tiefe und Atmosphäre. Besonders im Titeltrack entsteht so ein fast ,, Dancable Track “.Qualität, die zwischen Hoffnung und Melancholie schwankt.
Ein weiteres Highlight ist das Duett The Princess Bride mit der österreichischen Geigerin Gudula Gomez. Hier gelingt es Salentin und Gomez, die Stimmung des Stücks perfekt einzufangen – man meint förmlich, die Bilder des imaginären Films vor dem inneren Auge zu sehen. Eine Qualität, die zwischen Hoffnung und Melancholie schwankt
Ein Album wie ein Genre-Chamäleon
Salentin bewegt sich auf music for my movies souverän durch verschiedene musikalische Welten. Mal klingt es nach einem düsteren Noir-Thriller (Free mind ), mal nach einem epischen Abenteuer ( Neaples), dann wieder nach einer intimen Charakterstudie (the land of saints). Die Trompete bleibt dabei stets das zentrale Erzähl-Instrument – mal zart und fragil, mal kraftvoll und fordernd oder auch elektronisch verfremdet.
Besonders beeindruckend ist, wie Salentin es schafft, jedem Stück eine eigene Identität zu geben, ohne dass das Album zerfällt. Die Übergänge wirken organisch, die Dramaturgie durchdacht. Man spürt: Hier hat jemand nicht nur Musik komponiert, sondern ganze Geschichten in Klänge übersetzt.
Ein kleines Meisterwerk der Klangimagination
Music for my movies ist ein Album, das auch zum Träumen einlädt. Es ist ein Beweis dafür, dass Musik allein in der Lage ist, Bilder und Emotionen zu wecken – ganz ohne visuelle Unterstützung. Hans Peter Salentin und Taato Gomez gelingt hier eine Produktion, die sowohl technisch als auch künstlerisch überzeugt. Wer sich auf die Reise einlässt, wird mit einem vielschichtigen Alben des Jahres 2025 belohnt.
