Entprima Jazz Cosmonauts, Alexis Entprima, Captain Entprima
One artist and three artistic entities – what does that mean? From my first career as a musician I know it no differently. I made music in dozens of bands and orchestras. And this music was as different as it could possibly be.
When I started producing my new electronic music in 2019, I didn’t know where the journey would take me and there were only the Entprima Jazz Cosmonauts. After the story of “Spaceship Entprima” and the stage play “From Ape to Human”, a new artistic task lay ahead of me, just like the production of annual band albums.
But the characters in the two stories had made themselves independent, so to speak. There was the caring Captain Entprima from the spaceship, the stubborn coffee machine Alexis from the stage play, and of course the Cosmonauts as the starting point of the artistic journey.
What could be more obvious than to assign these three entities their own musical style and to focus on the attitude of the artist behind them. As a descendant of an immigrant miner from Poland, who grew up in the 1968s with Woodstock and political resistance against war and oppression, it was my concern to pick up these traces again, because basically not much has changed in the past 40 years.
So it was clear that the Cosmonauts would take on the here-ful task of wrapping socio-political statements in music. But since the struggle for life also showed me that the soul gets out of balance when only fight determines everyday life, Captain Entprima was given the task of making relaxing music, and Alexis’ task was defined anyway by his virtual history as a dance music machine.
From then on I called the whole thing “Soulfood”.
Entprima Jazz Cosmonauts
Biography until 2019
Horst Grabosch, born 17th of June 1956 in Germany, is a former German musician in the field of jazz and new music. After being unable to work as a trumpet player, he works as an information technologist until 2019.
Selected Recordings until 1997
- Horst Grabosch Quintett – „Anytime“ (1984)
- Horst Grabosch DDT – „Die Kälte des Weltraums“ (1991)
- Horst Grabosch feat. Wienstroer, Köllges, Witzmann – „Alltage“ (1997)
- Georg Gräwe Quintett – „New Movements“ (1976)
- Georg Gräwe Quintett – „Pink Pong“ (1977)
- The Berlin Jazz Workshop Orchestra feat. John Tchicai – „Who is Who?“ (1978)
- Georg Ruby – „Strange Loops“ (1993)
- Norbert Stein Pata Masters – Graffiti (1996)
- Klaus König Orchestra – „At the End of the Universe“ (1991)
- Michael Riessler – „What a Time“ (1989–1991)
The current music career has so far been purely a producer’s career. Nevertheless it should be mentioned that Horst has done about 4.000 gigs on various stages all over the world. This makes him fundamentally different from the many knights of fortune who cavort on the platforms in the streaming age.
Life and work
Grabosch received trumpet lessons since the age of nine. After graduating from high school in 1974, he studied German, musicology and philosophy at the Ruhr University in Bochum and the University of Cologne. He then completed a diploma course in classical trumpet at the Folkwang Music Academy in Essen until 1984.
In the 1980s he founded and directed the ‘Big Band Ruhr’ for 2 years. Later he was a guest in the Cologne ‘Jazzhaus Big Band’ and in the studio also with Paul Kuhn’s orchestra. The musical centre of his work was initially in the Ruhr area with the groups around Georg Gräwe and Theo Jörgensmann. Later he worked with the Cologne groups of Dirk Raulf, Georg Ruby and Thomas Witzmann. He played at many jazz festivals in Europe, including 1986 at Clusone Jazz with Roberto Ottaviano, Mark Dresser and Tiziano Tononi, and 1990, 1991 and 1992 at the Jazzfest Berlin with the ensembles of Norbert Stein, Klaus König and Michael Riessler. Tours have taken him to North and South America.
Already during his studies he performed works of new music. Together with Melvyn Poore and Radu Malfatti, who like him were members of the GrubenKlangOrchester in the late 1980s, Grabosch developed a trio programme that used predominantly experimental playing techniques and which, in terms of sound, can be assigned more to New Music than to jazz. A more intensive encounter with New Music began in the 1990s. This was followed by guest performances with the Ensemble Modern in Frankfurt and Musique Vivante in Paris with Vinko Globokar’s work “Laboratorium”. He finally received an invitation to join the founding ensemble of musikFabrik NRW.
Grabosch also worked as trumpeter, orchestra manager, composer and musical director at the theatre (Schauspielhaus Bochum, Schauspiel Köln, Vereinigte Städtische Bühnen Krefeld und Mönchengladbach, Théâtre national de Rennes, Théâtre national de Chaillot). He was a sought-after studio musician and played in the successful musicals Starlight Express and Les Misérables. His teaching activities included a teaching assignment at the University of Duisburg. His trumpet career ended in 1997 due to occupational disability.
After moving with his family to the Bavarian Oberland, he trained as an “Information Technologist Multimedia” at Siemens-Nixdorf in Munich and, until 2008, developed IT solutions and multimedia applications for industry as a business consultant. Until 2019 he worked as a freelance designer for web and database applications.