Comp. by Moritz Renner
Solo: Moritz Renner (Trb)
Pic. by Jakob Marsmann

Believe - Jakob Maes Jazzorchester live '24

Comp. by Bob Brookmeyer
Solos: Fabian Deschler (Drums), Maxim Burtsev (Pno)
Pic by Jakob Marsmann

The Door - JMJO live '24

GoFundMe to Save Mickey's House - 
https://gofund.me/240d8a93

Pan Afrikan People's Arkestra LIVE @ 2020 Arts + Archives (Mickey's House Benefit Concert 10.22.24)

"Five Forbidden Seconds of You" is a sophisticated contemporary ballad that weaves together soul, jazz, and orchestral elements into a tapestry of human connection. Through the sultry vocals, the song explores those suspended moments when time seems to pause and ordinary spaces become sacred. The composition moves from intimate piano and voice to rich orchestral arrangements, complemented by smooth jazz harmonies and soulful expression. The interplay between vocal interpretation and instrumental textures creates a cinematic journey through the landscape of unspoken possibilities.
This Valentine's Day release celebrates love's mysterious ways of finding us in the most unexpected moments, turning brief encounters into eternal echoes in our hearts.

Craving your glance, my heart's in chains,
in my veins, your image sustains,
never fading, like a spear in my sight,
deep within thoughts, day turns to night.  

Your fleeting presence, my daily thrill,  
come close, yet far, a forbidden thrill,
only in passing, our worlds briefly touch,
quietly sparking, a flame so much,

Under your gaze, I burn like fire,
intense, your smile, my heart's desire,
a volcano's heat, in your eyes, my love's dire.

Five forbidden seconds of you

Comp. by Nico Weber
Feat. Fabian Deschler (sax) & Malte Wiest (ds)

Brooks - Jakob Maes Jazzorchester (Leisnig '25)

Feat. Paula Rosin (sax) & Lea Reichel (voc)

Nuages - Jakob Maes Jazzorchester live@Unterfahrt 2025

Feat. Nico Weber (tpt), Moritz Renner (trb), Lukas Langguth (pno) & Malte Wiest (ds)
Pic by Nico Weber

The Flu's in Boss' Hat - Jakob Maes Jazzorchester live@Unterfahrt 2025

Comp. by Lea Reichel
Feat. Lea Reichel (voc) & Khasar Ganbaatar (bcl)
Pic by Nico Weber

Goodbye in Silence - Jakob Maes Jazzorchester live@Unterfahrt 2025

Feat. Lorenz Bergler (sax), Lukas Langguth (pno) & Marie Kuhar (trb)

Didi's Theme - Jakob Maes Jazzorchester live@Unterfahrt 2025

A lush downtempo jazz orchestra piece layered with a soulful blues-rock guitar and a soaring trumpet lead, evoking the calm intensity of monsoon rains. The arrangement blends moody orchestral textures with laid-back grooves, where the guitar bends echo like distant thunder and the trumpet sings like raindrops on quiet streets. Rich, atmospheric, and deeply emotive, this track captures the serenity and drama of stormy skies, perfect for late-night reflections or cinematic soundscapes.

Rains.wav

The Innocence of Babies is a tender reflection on purity, love, and the way we shape the next generation. Originally written as a poem in 1976 by George S. Chandler — just a year after his niece Donna (Dean's sister) was born — it’s now reimagined in a timeless Sinatra-style ballad. With a nostalgic Godfather-era swing, the song flows like a lullaby for a world that’s lost its innocence but still remembers what it means to care.

Orchestral strings, soft piano, and warm horns frame the vocal — smooth, cinematic, and filled with heart. It’s a song that reminds us of the beauty in simplicity, and the quiet truth that children learn from the world we show them.

A collaboration between George S. Chandler & Dean R. Chandler — honouring the past, through music that never ages.

THE INNOCENCE OF BABIES

[Verse 1]
The innocence of babies
Is a wonder to behold
It seems such a pity
That they must grow old

[Verse 2]
Look at that little girl
What will be her life?
Hope that she grows up to be
Someone’s happy wife

[Pre-chorus]
Look at that baby boy
So fast asleep
He’s trusting in you, you know
His future to keep

[Chorus]
Look at those infants
How they laugh and play
Wish the rest of their lives
Could be like today

[Verse 3]
School is over
Listen to them cheer
Hand in hand as they walk home
No colour problems here

[Verse 4]
But as they grow older
What will they be?
It’s no use blaming them, you know
They copy you and me

[Pre-chorus]
Look at the little girl
As her first baby cries
Look at the love
That’s there in her eyes

[Chorus] 
Look at those children
How they laugh and play
Wish the rest of their lives
Could be like today
Oh, look at those children
How they laugh and play
Wish the rest of their lives
Could be like today

[Instrumental]

[Outro spoken]
The innocence of babies
Is a wonder to behold
It seems such a pity
That they must grow old
Enhance lyrics (e.g. "make it sound happier")
The ballad opens with a sparse solo piano motif, delicate and expressive. Soft strings gently join, layering lush harmonies beneath the melody. Light woodwinds—flute and clarinet—add warmth in countermelodies. Arrangements remain transparent, with subtle dynamic swells, ideal for tender vocal or spoken lines.
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cinematic, orchestral, classical ballad
Weirdness 39%Style Influence 90%
[Verse 1]
The innocence of babies
Is a wonder to behold
It seems such a pity
That they must grow old

[Verse 2]
Look at that little girl
What will be her life?
Hope that she grows up to be
Someone’s happy wife

[Pre-chorus]
Look at that baby boy
So fast asleep
He’s trusting in you, you know
His future to keep

[Chorus]
Look at those infants
How they laugh and play
Wish the rest of their lives
Could be like today

[Verse 3]
School is over
Listen to them cheer
Hand in hand as they walk home
No colour problems here

[Verse 4]
But as they grow older
What will they be?
It’s no use blaming them, you know
They copy you and me

[Pre-chorus]
Look at the little girl
As her first baby cries
Look at the love
That’s there in her eyes

[Chorus] 
Look at those children
How they laugh and play
Wish the rest of their lives
Could be like today
Oh, look at those children
How they laugh and play
Wish the rest of their lives
Could be like today

[Instrumental]

[Outro spoken]
The innocence of babies
Is a wonder to behold
It seems such a pity
That they must grow old

George S. Chandler (1976)

The Innocence of Babies

music is a mirror made of magic. 
IG - @sahar.studios

Silas Engel, Michael Salvermoser, Janos Löber, Nico Weber, Linus Bornheim (Trumpets)
Moritz Renner, Paul Quistorp, Marie Kuhar, Linus Berg (Trombones)
Fabian Deschler, Lorenz Bergler, Paula Rosin, Katharina Pfeifer, Caspar Rutsch, Khasar Ganbaatar (Reeds)
Maxim Burtsev (Piano), Charly Härtel (Bass), Malte Wiest (Drums)
Lea Reichel (Voice), Jakob Maes (Conducting)

About

I’m Dean R. Chandler — a London based songwriter, recording artist, and storyteller. My music is rooted in a lifelong search for meaning, weaving together themes of love, loss, faith, alien contact, and humanity’s future.

My upcoming double concept album Human Odyssey (set for release in January 2027) is the culmination of decades of writing and reflection. It’s a narrative journey that begins with a search for God and ends with an encounter with extraterrestrial intelligence — exploring not only what it means to be human, but also where we might be heading as a species. Musically, it draws inspiration from the epic storytelling of Jeff Wayne’s War of the Worlds, the synth-driven edge of Gary Numan, and the emotional depth of artists like Tori Amos and Chris de Burgh.

I previously released Time Machine – Reflecting Shattered Dreams (2014) and continue to revisit my archive of songs written across 35 years, reimagining them with today’s tools and sounds. Some pieces remain intimate and acoustic, while others expand into dark rock, industrial, or orchestral landscapes — but all are connected by a focus on emotional honesty and cinematic storytelling.

Beyond music, I’m fascinated by the intersection of creativity and technology. I’ve been experimenting with AI-driven composition and production to bring old demos to life and to spark entirely new works. For me, these tools are not replacements for human artistry but extensions of it — ways of unlocking stories and emotions that otherwise might have remained hidden.

At its heart, my work is about connection: to the past, to the future, and to the unseen mysteries of existence. Music, for me, isn’t just entertainment — it’s a chronicle of transformation, a conversation between spirit, science, and sound.

https://www.linkedin.com/in/dean-r-chandler-b19715382/
www.deanrchandler.co.uk

Rugved Mahajan, known professionally as Rugy, is a versatile guitarist, composer, and lyricist blending jazz, rock, R&B, Hip Hop and pop influences into dynamic original music. Rugy’s expressive songwriting covers a range of genres and emotional narratives, resonating with diverse audiences.

Musical Background
As both a solo artist and member of the English rock band Doctor Rock, Rugy crafts original compositions and writes English lyrics with a focus on melodic depth and energetic performance. The artistic vision reflects a passion for musical storytelling and a commitment to authentic, genre-crossing sounds.

Achievements & Style
Rugy’s repertoire features inventive jazz-rock arrangements and soulful R&B-pop melodies, performed live and released in collaboration with Doctor Rock as well as distinguished solo projects. Each track highlights skillful guitar work and a lyric-driven approach, making Rugy a sought-after musician in both band and independent settings.

- Part Pianist, part composer, part poet, part IT technologies technician/programmer, 100% musician. -

Otoniel Rojas is a Dominican pianist and composer celebrated for his unique fusion of classical music with the rich rhythms of his homeland. Born in Santo Domingo, Dominican Republic, he was immersed in a vibrant musical environment from an early age. His father, an accomplished musician, served as the principal flutist and later as the piccolo player in the National Symphony Orchestra of the Dominican Republic, instilling in him a profound appreciation for music.

At just seven years old, Rojas began his formal music education at the National Conservatory of Music, initially focusing on the violin. Simultaneously, he nurtured a passion for the piano, teaching himself to play and developing exceptional sight-reading abilities. His prodigious talent quickly became evident as he accompanied his father in numerous public performances, church services, and television appearances across his native country.

Determined to refine his pianistic skills, Rojas pursued formal piano instruction, excelling in performance, counterpoint, music theory, and solfège at the conservatory. Despite his musical successes, he briefly explored an engineering career at the Universidad Autónoma de Santo Domingo (UASD). However, his unwavering dedication to music led him to resume his artistic journey.

Seeking broader horizons, Otoniel relocated to the United States to study at Brooklyn College of the City University of New York—a hub for international students and a springboard to esteemed institutions like Juilliard. Under the mentorship of acclaimed pianist Agustin Anievas, a celebrated American classical pianist known for his recordings of Chopin and Rachmaninoff. Under Anievas' tutelage, Rojas flourished, graduating with a Bachelor's degree in Piano Performance, earning the distinction of Cum Laude. His exceptional musicianship was recognized when he won the conservatory's piano competition, performing Beethoven's Piano Concerto No. 3 with the college orchestra.

Deeply involved in the college's musical community, Rojas participated in chamber music ensembles, served as a piano accompanist, and sang in both the specialized chamber choir and the conservatory choir. He expanded his compositional skills under the guidance of Robert Starer, an Austrian-born American composer known for his contributions to contemporary classical music. His collaboration with the university's ballet program led to his composition "A Passing of Time" being incorporated into the ballet's repertoire, which was performed internationally by the university ballet in Prague.

To further diversify his expertise, Rojas studied conducting with Karoly Kope, chamber music with Stoddard Lincoln and Marion Feldman—a distinguished cellist and professor at New York University—and delved into music history under H. Wiley Hitchcock, a leading authority on American music.

Upon returning to the Dominican Republic, Rojas continued to compose and perform. He was commissioned by the Sinfónica del Cibao to create "Mozartina," an orchestral piece that masterfully intertwines traditional merengue rhythms with themes from Mozart's "Jupiter" Symphony. The work features the tambora, a traditional Dominican percussion instrument, symbolizing a fusion of his classical training and cultural roots. "Mozartina" premiered with the Sinfónica del Cibao and was later performed in a revised version by the National Symphony Orchestra in Santo Domingo under the baton of Caonex Peguero, a prominent Dominican violinist/conductor/composer.

Today, Rojas continues to share his music with audiences worldwide. Through platforms like SoundCloud and published sheet music, he brings a unique blend of classical and Dominican musical traditions to listeners and performers alike. His journey reflects a lifelong dedication to music and a commitment to bridging cultures through his art.

New tracks tagged #jazzorchestra