Although only 23 years old, the Olten saxophonist Simon Spiess commands the arrangements in such a way that other jazz musicians would envy. His originality, individuality, openness and straight-forwardness are quite unique. With his new album "Miss D.B', Spiess consciously demands something of the listeners - offering them a real discovery, presenting them with the naked beauty of music. A new album is - admittedly, with some fantasy - comparable to the birth of a child. The anticipation is great, the wait is long, the birth (in studio and production) is exhausting and painful, and then it is - the child or even the album - suddenly there. Joy prevails, birth announcements are issued, promotional texts are written, the baptism takes place. Everyone can see: the child lives, it is healthy, it has arms and legs, it can see and hear. Its talents are in balance. What will come of him in ten or thirty year, no one knows. Some develop into something, thanks to education, social influences, promotion etc. Some others New albums relate to the child not so differently - only the fate and the characteristics of the majority of many current productions are short-lived and basically oblivious. It is almost like a self-suicide at a young age (with the difference being that there is no public consternation). Why this comparison, this long introduction? Simon Spiess, the young saxophonist from Olten, has produced, with his latest, third album "Miss D.B', "something very successful that has not been seen previously in the Swiss Jazz scene" "Miss D.B' is no "one-hit-wonder', instead showing substance that need not look for comparisons. There is a subjective experience, where after hearing the first bars one almost wants to take the new disc straight out of the record player. It is not easy-listening, superficial, light music. Its manner is rather like how one handles difficult, unadjusted children. If they are not condemned or punished, but instead tolerated and promoted, it is likely that they then develop. It is the same case with idiosyncratic music such as that found on "Miss D.B'. It wants to be listened to consciously; it is not simply a nice soundtrack for cooking to or for chilling out. Spiess states: "One of the main points of focus for me is that I tell a story with my music - without words. I want to give that to my audience. They should listen observantly. I also want to provoke them a little bit, and that is why I decided on a trio without a harmony instrument. In return we offer the listeners harmony as a trio. Through my music I look to display to a broad public how wonderful this music, this jazz - this gift! - is." In this statement Spiess says a lot about his current ideals for creating music. He is an intuitive type, but when it comes to art he is anything but a conceptual musician. This is only partly true, since "Miss D.B.' bases itself very well on a concept. The setting without a harmony instrument demands precise listening - having it in the background it is impossible - not in the least because in his role as a bass player Marco Nenniger anticipates and understands equally. He wants it to be known that he does not simply play pleasant bass lines on the tonic, but he also likes fragments of melody, solos or tones from the upper structures. If as a listener one has just grasped the variable, multi-faceted aspect of music at a macro-level, a new cosmos presents itself made up of delicate nuances, tonally, rhythmically and melodically. The experience that the Simon Spiess Trio offers for discovery is really a present to the listener. For once, the slogan "Reduce to the Max" is more than just a charming cliché. It is exactly because no piano or guitar is involved that Spiess' saxophone is much more in the foreground with its diverse tone colours. That is courageous - and with young saxophonists that is rare. The horn stands almost naked with nowhere to hide. For additional sound colours the Trio is joined by Domenic Landolf (tenor saxophone) and Malcolm Braff (fender rhodes).