Clara Haberkamp


Clara Haberkamp   piano


New Album: Clara Haberkamp Trio – PLATEAUX
(Release May 17, 2024)

Duo azadi

Clara Haberkamp   piano

Atena Eshtiaghi   cello


Clara Haberkamp    piano

Oliver Potratz   bass

Jarle Vespestad   drums

Defiant. Sensitive. Lively. Unconventional. Authentic. Courageous. Clever.


On Tour – verfügbare Daten

June 12-20, 2024 | July 4 + 16, 2024 | September 22-29, 2024 | October 18  – November 4,2024 
November 11-20, 2024 | December 9-18, 2024

Turning weaknesses into strengths is considered a virtue. That’s a good thing. But Berlin pianist Clara Haberkamp is already a step ahead, because in a constant process of osmosis she has long been transforming strengths into further strengths. No, that’s not a paradox. On a constant path of perfection, the sensitive sound poet is not concerned with perfection, but with reinventing herself at every stage of the journey without denying what she has already achieved. The most recent proof of this maxim is “Reframing The Moon”, the new album by the Clara Haberkamp Trio (Malletmuse Records, 2021).

Despite her young age, Clara Haberkamp has already acquired an extraordinarily distinctive signature as a composer. Expressiveness, depth of soul and the perhaps unique ability to translate productive doubt into sensual sound are at the core of her brand, which she approaches from a different perspective on each of her albums. On “Reframing The Moon”, she is once again opening a new chapter. Never before has Clara Haberkamp sounded so decluttered and tidy as on these ten compositions, which were created over a period of two years. Everything that we know and have come to appreciate from her is still there at the core, only extremely loosened up. This was a logical step for the pianist. She opened herself up to improvisation, focused entirely on the sound of the piano and exploited the full range of its possibilities.

On “Reframing The Moon”, Clara Haberkamp consistently resists distraction from her own sensitivities, throws off all ballast and concentrates on the essentials. What needs to be said is said, everything else can and should remain unsaid. Instead of going down all paths at once, she chooses a clearly defined route in each track, which she follows as if following a map. Joining her trio on these tracks is like drawing your very own sound topography.


This limitation to the essentials is not an individual achievement of the band leader, but definitely a trio performance. The drummer is the calming influence of the troika. You don’t always have to hear him to feel him at every moment. Bassist Oliver Potratz also radiates the calm of a hungry veteran who always keeps his eye on the concrete goal. Like a sailor, he can lean far out of the given framework and steer out into the open water without ever losing sight of the shore. His attention to detail goes far into narrative risk, but always makes sense in the overall context with impressive reliability. The three members of the trio translate this jointly acquired composure into spontaneous elegance and immanent elasticity. In the end, the density of intentions becomes so strong that you no longer have to worry about who in the trio has what part in the frenzy of events.

Is there a synonym for magic? Magic, verve, power, force, charm … none of these even come close to the soulful pull of “Reframing The Moon”. But if you could summarise it in one or two words, there would be no reason to listen to the album. Thanks to their undisguised emotionality, Clara Haberkamp and her fellow musicians need neither brushes nor words to turn their compositions into images, poems and choreographies simply by concentrating fully on the sound.

Wolf Kampmann


PHOTO- Duo Azadi - Photo von Farahnaz Sharifi

Duo Azadi

Azadi means freedom, and so what these two talented musicians create in the flow of improvisation with enough song structure and somewhere in the waters of jazz and classical music can leave no one untouched. Genre boundaries are disregarded and it doesn’t matter where the musical material of their playing comes from: only possibilities count, and there are an infinite number of them. Outbursts, surprises and emotional exuberance are allowed and required and guarantee maximum authenticity, and everything is in flux.



The pianist, composer and singer Clara Haberkamp (*1989 near Unna) lives in Berlin. Between 1998 and 2006, she won several “Jugend jazzt” and “Jugend musiziert” competitions at state level. Later she was also a pianist in the national jazz orchestra (Bujazzo). From 2009 to 2013, she studied piano at the Jazz Institute Berlin with Hubert Nuss, David Friedman and Greg Cohen, among others. She completed her subsequent master’s degree in composition at the Hamburg University of Music and Theatre in May 2017 with the CD recording of a programme composed especially for the NDR Big Band at the Rolf Liebermann Studio in Hamburg. 

With the Clara Haberkamp Trio, she won the “Newcomer Award” at the “Jazz Baltica” festival in 2011 and realised her first CD (“Nicht rot, nicht weiß, nicht blau”). In the following years, she recorded 3 further albums both as a trio and as a soloist. With their album “Orange Blossom” (Traumton Records), the trio was nominated for the Echo Jazz 2017 in the “Newcomer” category. “Reframing The Moon” will be released in August 2021 on Malletmuse Records. In 2019, Clara Haberkamp presented her composition “dinner with a nymph” in a promotional video for CASIO Music, since then she has worked regularly with CASIO Music. 

Clara Haberkamp teaches improvised song accompaniment at the Berlin University of the Arts and was entrusted with teaching composition at the Babelsberg Film University. Since summer 2020, she has been working on her doctorate on the topic of “Extended methods of improvised song accompaniment taking into account current trends in new music and jazz”. The artistic-scientific doctorate is funded by the “Dissertation Plus” programme of the Claussen Simon Foundation. 


Firstly, there is Haberkamp’s touch. She sets her chords with clear contours and without any gentle whispering, which do not leave the terrain of romantic harmony until they transition into the off-beat phrasing of modern jazz. But wherever the musical material of her playing comes from and however dynamically she sets her lines or chords, the grand piano always sounds as if the steel strings have been replaced by gut strings. This sound character underpins her entire playing, as if every note has been impregnated, covered with a fine coating that protects against all coarseness and any unqualified rumbling. Her playing has something pleasantly even, discreet even in powerful phrases, one could almost describe it as a marvellously feminine gesture (…). In any case, Haberkamp is a great pianist who never shows off her virtuosity, with an elegiac, lyrical soprano voice that is a little (…) reminiscent of Joni Mitchell, only more straightforward, without all the tremolos. 


The songs lead atmospherically along the edge of chamber music. They tell stories of emotional exuberance without having to resort to melodic clichés. It is not music to whistle along to, but neither is it music whose frictional warmth evokes beads of sweat. (…) Everything is in a state of flux and yet has enough side arms of the aesthetic to surprise again and again harmonically, structurally and motivically. The Clara Haberkamp Trio thus builds its own world. 


Haberkamp shakes off the burden of the big names like a leaf that has accidentally fallen on her back. She honours her personal heroes (…) by detaching herself from them.


When the piano, bass and drums of her trio sometimes float around each other in a dreamlike rubato, she manages to quickly draw you into her world, in which the music sometimes consists of just a few well-placed dabs. The space between the individual notes stimulates the listener’s imagination. Clara Haberkamp is a master of omission. (…) Without long run-up phases, this trio creates a somnambulistic atmosphere. At times the musicians sneak around each other playfully, hovering towards each other, tending towards pleasantly enchanted moods, then again they strike out in a very pointed and rhythmically daring manner. This constant change, the free handling of forms and the courage to reduce creates something very appealing.