Brad Henkel Quartet

BH- Trumpet, composition
Rieko Okuda- Piano
Isabel Rößler- Contrabass
Samuel Hall- Drums, percussion



BH – Trumpet, amplifier
Dan Peter Sundland- Electric bass, vocals
Fabian Jung- Drums, toys, vocals


Brad Henkel solo


BH – Trumpet, amplifier
Miako Klein – recorders, amplifier

Trumpet and recorder in their elemental form (tubes and air) envelop the space with a magnified environment of harmonizing and clashing timbres. Whistling overtones, percussive thumps, shrieking voices. Walls of sound, nervous twitches, burrowing moles.

Giw / Henkel – Granular Epic

Brad Henkel und Pablo Giw sind zwei experimentelle und improvisierende Trompeter, deren Wege sich seit 2014 im Duo kreuzen, berühren und auf verschiedene Weise immer wieder zueinander führen. Zentral verbindet beide Musiker das Instrument Trompete, vor allem aber der Arbeitsansatz es jenseits seiner konventionellen Rollen einzusetzen und neues, erweitertes und individuelles Klangmaterial darauf zu entwickeln. So nutzen sie die klanglichen Möglichkeiten der Trompete durch die Verwendung von Mikrofonierung und Effekten, vor allem aber durch Spieltechniken wie Zungenschläge als Bassdrum sound, klackernde Ventile als perkussive Elemente oder Stimme und Split-Tones als harmonische Elemente. Beide hinterfragen ihre Rolle als Instrumentalisten auf Art und Weise, verwenden oftmals ein ähnliches Klangmaterial, jedoch in musikalisch unterschiedlichen Kontexten.


Merry Peers by Liz Kosack
@Liz Kosack

Merry Peers

BH – trumpet, effects
Yoshiko Klein – synthesizer

Using only trumpet, synth, a little voice, and effects, Brad and Yoshiko channel sensual ambience, haptic glitch, and time-smudging melodic flights. Earthquake drones. A faint ringing in your ear.




BH – trumpet, effects
Liz Kosack – synthesizers
Julia Reidy – guitar, effects
Samuel Hall – drums, effects

Harsh cuts, sharp turns and unremitting, longing slow-burns – the quartet manoeuvres restlessly from detailed textured intricacies to anthemic hooks over laid-back grooves, tugging you mercilessly into condensed, punishing passages of reckless thrashing that dissipate instantaneously into a sparse, whispering serenity, or a grounding, riff-y, cyclical vortex. Underpinning the dizzying whirlwind of weaves and ricochets, SPOILER is relentlessly propulsive, their daring jump cuts and steady, aching builds ready to shoot you off once again into anti-gravity space, a landscape of blooming, fleeting architectures

@Jim Croft

KIM collective

A Berlin-based, musician-run collective. A platform for presenting contemporary, improvised music and sound art. 12 musicians: noise, melody, beats, structure, cacophony, euphony, surround sound, site-specific-improvisation, composed and improvised music.
KIM’s website.

@Nathaniel Morgan


BH – trumpet
Dustin Carlson – guitar

“..eerie drones created by radiator-hissing trumpet and slowly strummed guitar. Mr. Carlson strums a couple of dark chords over and over with Mr. Henkel’s haunting trumpet in the distance, like a foghorn in floating in the mist. As Mr. Carlson strums over and over, he creates a most hypnotic undertow, occasionally hitting the strings above the top or below the bottom bridge. The different layers of drones are carefully manipulated to create a mesmerizing aura. Eventually Mr. Carlson begins to add another layer bent notes by tapping on the strings, creating a somewhat disorienting alien world. On the second piece, Mr. Henkel concentrates on haunting long tones while Carlson adds a weird layer bent-note ominousness. The overall effect is one of floating in a dreamworld where nothing it quite distinct yet we still can feel the walls holding our imaginations within.” – Bruce Lee Gallanter


Jacob Wick / Brad Henkel Duo

Brad Henkel and Jacob Wick both play the trumpet, an instrument invented in its contemporary form at the turn of the 20th century that consists of a 1.48 meter metal tube turned twice interrupted by set of piston valves—as in a pneumatic cannon or a locomotive—that regulate modifications in the length of the tube. Traditionally, the tube amplifies a focused stream of spit produced by the pursed lips of the trumpet player. The tube however can also amplify unfocused streams of spit, produced by other arrangements of the lips. The tube itself can be shortened by the removal of various removable slides, shifting the overtone series of amplified sounds—focused or unfocused streams of spit, weak exhalations or strong inhalations—and occasionally the direction of those sounds. Lips and tubes can interact in a variety of ways. Jacob Wick and Brad Henkel enjoy this.