1. Part 1 (Featherdance)
2. Part 2 (What passes, passes like clouds)
3. Part 3 (Mulanga)
4. Part 4 (Time Blues)
5. Part 5 (Roma Termini)
 

Reeds: Marko Lackner (as, ss, fl), Christian Esser (as), Francois Ribeaupierre (ts, bcl), Guido Gering (ts), Sabine Timmer (bs), Nicole Bierich (fl), Kristof Kaminski (cl)
Trumpets: Frank Dulisch, Tobias Gregor, Christian Winninghoff, Klaus Kaminski
Trombones: Michael Scheuermann, Andreas Schickentanz, Marcus Stadler, Reiner Deponte
Rhythm: Stefan Winter (p), Christian Tölkes (git), Nils Imhorst (bass), Roland Höppner (dr), Markus Klose (perc)
Direction: Elmar Frey
 

Reviews:
“With his work as a composer the young saxophone player made a reputation in the german jazz scene. His third project “Pangäa” can be supposed very much to continue his success. Multiple and with a lot of facets, “Pangäa” leads the listener to fascinating and exciting places. However, in spite of it´s depths and it´s wide influences, the music never gets ponderous. With every note “Pangäa” impresses with swinging lightness and joyful musicianship.”
(“Kölnische Rundschau” about the premiere of the Bigband.suite “Pangäa”)

“The music is well-balanced between innovation and tradition, searches in the in the regions of the well-known and discovers fresh and exiting new sounds. What makes it so likeable is the lack of superficial effects  and it´s unconstraint and effortless flow.”
(“Jazzpodium” about the CD “Pangäa”)

About the compositions:
“Pangäa” is, after “Psalmen und Lobgesänge” for choir and jazz-ensemble, Petzold´s second project that deals with bigger compositional forms. Pangäa is the geological name for the huge ancient continent, from which the recent continents originate.
In contrary to the psalm compositions, that descent more from church music and baroque oratory, “Pangäa” is inspired from the sinfonic music of the 19th century with its long breath and its richness in orchestral colours. The compositions connect with a broad flow bigband-jazz and inpressionistic chords, blues and african grooves.
Petzold aimed to use the complete width and power of the bigband-sound and to work with influences from different styles. To enlarge the palette of sounds, Petzold added flute, bassclarinet and percussion to the usual instruments of the bigband.

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