German pianist Joachim Kühn could have had a career in classical music had he not early on developed an enthusiasm for jazz under the influence of his older brother, clarinettist Rolf Kühn. After leaving his natal Leipzig, then still under communist yoke, the young Bach fan arrived in Paris in 1968 in the midst of the free jazz movement. His meetings with Don Cherry, Aldo Romano, Gato Barbieri, Archie Shepp and Roswell Rudd were determining. “The spirit of jazz”, he confided, “is rebellious and free”. This became the leitmotiv of his entire career. In every configuration he played in, preferably small ones, Joachim Kühn made his independent voice heard. Transcending boarders, the interpret and composer alternated between duos with Ornette Coleman, encounters with the young classical music pianist Michael Wollny and the Mediterranean sounding trio he formed with Ramon Lopez and Majid Bekkas. Though undeniably open-minded, he was uncompromising on one essential point: sound. This obsession led him to develop his own musical model “The Diminished Augmented System” which from then on became his musical trademark. His style became marked by a powerful lyricism that is nowhere more evident than on his solo recordings.