🎵 Title: Pentajazz Vocal Romance (Lounge Bass Piano Jazz Remix)
🎼 Composer: Michael Herter

🕒 Duration: 01:54
🐢 Tempo: Medium
🎻 Genre: Jazz / A cappella / Remix
🎧 Mood: Romantic, Emotional, Poetic
🎬 Video:
📀 Original: https://michaelherter.bandcamp.com/track/lounge-bass-piano-jazz-modern-sophisticated-elegant-intense-soft-acoustic-noir

📝 Description

Fall in love with harmony.

"Pentajazz Vocal Romance" transforms my original lounge-jazz piece "Lounge Bass Piano Jazz" into a sumptuous a cappella experience. 

Listen here:

https://michaelherter.bandcamp.com/track/lounge-bass-piano-jazz-modern-sophisticated-elegant-intense-soft-acoustic-noir

Every instrument gives way to the human voice — rich basslines, percussive beatboxing, and velvety multi-part harmonies merge into an intimate, elegant tapestry of sound.

Whether you’re unwinding at twilight or sharing a quiet moment, this track envelops you in a warm, vocal embrace.

🎼 Key: c-moll | Time Signature: 4/4 | Tempo: Varies bpm

Contains synthetic content, digitally generated.

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JAZZ and BLUES

Pentajazz Vocal Romance

Dies Irae — "The Day of Wrath" — draws its name and inspiration from the iconic medieval Latin hymn that envisions the Last Judgment: a cataclysmic reckoning where the trumpet sounds, the dead rise, and every soul stands trial before an all-powerful Judge. Traditionally sung at Catholic Requiem Masses, this ancient text has haunted Western music and imagination for centuries, inspiring giants like Mozart and Verdi to transform it into timeless works of art.

This reinterpretation takes a more critical and personal path. Rather than presenting the full, fire-and-brimstone narrative, the track distills the original into select verses — fragments that echo through the music like distant voices from a troubled past. The piece challenges the deeply rooted notion of God as a merciless arbiter, replacing fear with reflection. In doing so, it questions how such doctrines have shaped our inner world — replacing love with dread, grace with guilt.

The composition opens and closes with solemn church organ passages, framing the piece like the arches of a ruined cathedral. The final organ reprise, however, carries a subtle shift — a glimmer of hope, as if the weight of centuries-old judgment might finally give way to something more compassionate.

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DIES IRAE 

Dies irae, dies illa
Solvet sæclum in favilla.

Quantus tremor est futurus
Quando iudex est venturus.

Liber scriptus proferetur,
in quo totum continetur.

Iudex ergo cum sedebit,
quidquid latet apparebit.

(The day of wrath, that day,
will dissolve the world in ashes.

How great will be the quaking,
when the Judge is about to come!

The written book will be brought forth,
in which all is contained.

When therefore the Judge will sit,
whatever lies hidden, will appear.)

Horror Sacri

Dies Irae

On the Bayou

[ Bouncer  Vanille ]  DYB

A movement of dark thematic themes that progresses to a heavy inspiring build up.

Towards the Light

When you forgive, you are liberated. Not like a monk floating above the chaos,
but like an alien finally stepping out of the mothership—weightless, weird, and wonderfully free.
Forgiveness is strange. It doesn’t always feel noble. Sometimes it feels like surrender.
Other times, like betrayal of your own pain.
But then—quietly, without fanfare—it lifts you. Not because the past is erased,
but because you’ve stopped dragging it behind you like a broken satellite.
Imagine this:
You’ve been orbiting a grudge for years. It’s familiar, even comforting.
But it’s also draining your fuel, distorting your signal. Then one day, you let it go.
Suddenly, you’re not circling anymore. You’re soaring. Forgiveness doesn’t mean forgetting.
It means choosing not to be defined by the wound.
It’s the alien act of saying:
“I see what happened. I feel what it did. But I won’t let it pilot my ship anymore.”
And here’s the twist—When you forgive, you don’t just liberate yourself.
You create space. For creativity. For connection. For the kind of joy that doesn’t need justification. 
So if you’re holding onto something heavy, ask yourself:
Is it keeping you grounded, or keeping you stuck?
Because liberation isn’t always loud. Sometimes it’s just a quiet decision to float free, like an alien in zero gravity, finally unburdened by Earthly grudges.


Forgiveness

The Hunter Killer cyborgs have been unleashed. They are the corporate owned cold-blooded "cleaners" of Wicked City. Know that if you see one, run... or die. (Retrowave/Outrun)

Hunter Protocol

Born from a star, a furnace-fire,
A single pulse, a pure desire.
No clock to start, no race to run,
My end is where I have begun.
They map my path, a line of fate,
From sun-scorched core to garden gate.
But distance is a trick of sight,
For a single thought of perfect light.

(Chorus)
'Cause I live a life of no time,
A perfect, instantaneous chime.
The moment I'm free, I've already arrived,
In the eye of the one for whom I was contrived.
It's not a journey, it's just a decree,
I activate the field, and cease to be.
A phenomenon, a single frame,
Whispering a forgotten name.

You see a billion lonely years,
Through cosmic dust and frozen tears.
A traveller on an endless road,
Carrying a solitary code.
But from my view, there is no space,
No lonely, dark, and empty place.
There is a cause, and then effect,
A single moment to connect.

(Chorus)
'Cause I live a life of no time,
A perfect, instantaneous chime.
The moment I'm free, I've already arrived,
In the eye of the one for whom I was contrived.
It's not a journey, it's just a decree,
I activate the field, and cease to be.
A phenomenon, a single frame,
Whispering a forgotten name.

Am I a particle? A wave in the black?
A message sent with no way back?
I'm just a ripple, a switch that's thrown,
A seed of vision that is sown.
A field was sleeping, calm and deep,
I come to wake it from its sleep.


The field is active... the circuit's closed.
My purpose served, my life disposed.
From launch to landing... a single beat.
The bitter... and the oh-so-sweet.
...No time at all...
...Just the call... and the fall...

A Photon's Life

Seeker is a reflective piano piece that captures the quiet beauty of searching — for meaning, for peace, for a path forward. Gentle dynamics, spacious pauses, and soft tones invite the listener into a meditative journey.
For fans of Ludovico Einaudi, Olafur Arnalds, and Max Richter.

Seeker

That "Bareback. A Tomato Project." book from 1999 contains many fascinating parts and sections. One is this story of a trip with grandpa to the ocean. I set the stimulating narration to some sounds ... 

shoreline

With this song process my growing concern about the increasing strength of right-wing populist parties such as the Afd. With the sound and the lyrics I want to draw musical attention to the ever more manifest threat and the creeping (re-)spread of "brown", xenophobic thinking. It is important to me to make a clear statement here and I hope that other musicians will do the same.

English translation oft he lyrics:

Please go` (Get out!) Afd

The Brown Latent
The seemingly impotent
It's been a long time
Arrived at the junkyard.

Not taken seriously
Come out again
In the blind spot
Thrives the right conceit

Per Nation
emperor throne
German synchronous
Destructive Clay

Displaced only
Crammed into the light
Redirecting the state
Freedom hung up

Switching equal
Back to the Reich
Killing Diversity 
And mind games

Prohibit everything again 
What's in it all
You're not allowed to be
Who You Are

Please go (get out!) Afd
Afd (Disappear)
Afd No! No No! Neih!

Have split off 
Were able to stay within us
In the East and West
The old blond beasts

yearning for dogma
By homeland, old acquaintances
xenophobia 
The Abyss and the Unnamed

Reflect
Ruthless
Inside us
Put a brown sense

If still unconsciously 
It awakens the desire
On security 
In self-satisfaction

They'll lull you into a lullaby
With a promise of happiness
You'll be mutated
Out of nowhere

On false gold waves 
Repeatedly cheated
Before  You overlook
Your blond beast wakes up

Please go (get out!) Afd
Afd (Disappear)
Afd No! No No! Neih!

Refrain in French, English and Swedish


Deutscher Originaltext:

Bitte geh` (Hau ab!) Afd

Das Braun-Latente
Das scheinbar Impotente
Schon lang Vergang`ne
Auf dem Schrottplatz angelangte

Nicht ernstgenommen
Wieder hervorgekommen
Im toten Winkel
Gedeiht der rechte Dünkel

Pro Nation
Kaiserthron
Deutschsynchron
Destruktiver Ton

Nur verdrängt
Ans Licht gezwängt
Den Staat umgelenkt
Die Freiheit aufgehängt

Schalten gleich
Zurück ins Reich
Töten Vielfalt 
Und Gedankenspiele

Wieder alles verbieten 
Was es alles so gibt
Darfst nicht mehr werden
Wer Du bist

Bitte geh (Hau ab!) Afd
Afd (Verschwinde)
Afd No! Nein No! Neih!

Haben abgespalten 
Konnten sich in uns halten
Im Ost- und Westen
Die alten blonden Bestien

Sehnsucht nach Dogma
Nach Heimat, Altbekannten
Angst vor dem Fremden 
Dem Abgrund und dem Unbenannten

Reflektiert
Schonungslos
In uns drin
Steckt ein brauner Sinn

Wenn noch unbewußt 
Weckt er die Lust
Auf Geborgenheit 
In Selbstgefälligkeit

Man lullt Dich ein
Mit Glücksversprechen
Wirst mutiert
Aus dem Nichts geführt

Auf Falschgold-Wogen 
Wiederholt betrogen
Eh` Du Dich versiehst
Erwacht Dein blondes Biest

Bitte geh (Hau ab!) Afd
Afd (Verschwinde)
Afd No! Nein No! Neih!

Refrain auf Französisch, Englisch und Schwedisch

Bitte geh´ (Hau Ab!) Afd (The resurgence of right-wing populists; Description in English))

Deutscher Singer-Songwriter über fünfzig Jahre alt. Seit fast vierzig Jahren schreibe und singe ich Lieder. Mein Hauptinstrument ist die akustische Gitarre, aber ich mag auch Perkussionsinstrumente (Cajon, Maracas, Gurio). Ich liebe es, melancholische und poetische Balladen zu komponieren. Aber manchmal schreibe ich auch (schwarze) humorvolle Songs, Jazzstyle und -Rocksongs. Meine Hauptsprache ist Deutsch. Aber in Zukunft will ich mehr Songs auf Englisch und vereinzelt auch Französisch schreiben.
In meinen Kompositionen bin ich inspiriert von Leonard Cohen, John Lennon, Jacques Brel, Van Morrison und Bob Dylan. Auf meinen Platten spiele und singe ich alles alleine. Meine Vision für die Zukunft ist es, Musiker aus verschiedenen Kulturen zu finden, die gerne ihre Tracks mit mir teilen wollen.
Mein persönliches Mantra ist ein Satz, der von Paul Mccartney auf dem Beatles-Album "Abbey Road auf dem Track "In the end" vor fast Fünfzig Jahren geschrieben wurde:

Die Liebe, die Du bekommst ist gleich der Liebe, die Du gibst.

German singer-songwriter over fifty years old. For almost forty years I have been writing and singing songs. My main instrument is the acoustic guitar, but I also like percussion instruments (Cajon, Maracas, Gurio). I love composing melancholic and poetic ballads. But sometimes I also write (black) humorous songs, jazz style and rock songs. My main language is German. But in the future I want to write more songs in English and occasionally also in French.
In my compositions I am inspired by Leonard Cohen, John Lennon, Jacques Brel, Van Morrison and Bob Dylan. On my records I play and sing all by myself. My vision for the future is to find musicians from different cultures who would like to share their tracks with me.
My personal mantra is a sentence written by Paul Mccartney on the Beatles album "Abbey Road on the track "In the end" almost fifty years ago:

The love you take is equal to the love you make.

Bitte geh´ (Hau Ab!) Afd (The resurgence of right-wing populists; Description in English))

Karlit-O-Kay (K-O-K)