In 2011, Max Clouth released his first solo CD. Titled simply “Guitar”, it presents his distinctive approach to Spanish, Indian, and Baroque music, all arranged for and performed on solo acoustic guitar. Featuring music recorded in distant Mumbai, which had attracted the guitarist from Frankfurt who, having been fascinated by John McLaughlin’s bands Mahavishnu Orchestra and Shakti, sought to plunge deeper into the world of Ragas and Talas of Indian classical music. The Times of India praised the 23-minute long album as “great fusion”; The composer’s take: “Western music with an Indian vibe”, which he now tries to take to higher spheres through his electric Max Clouth Clan.

“Return Flight” is the title of that quartet’s first album, a title that has multiple meanings for Clouth – literally flying, escape and all it implies, back and forth. The central theme: Being in motion.

Precisely that describes “Return Flight”, just like “Guitar” before it – though in this band context with bassist Timothy Roth (substituted by Markus Wach for the tour) und drummer Martin Standke, along with exceptional studio guests like T.L. Mazumdar (keyboards and vocals), Shruti Ramani (vocals on “Noon Tune”), Michael Wahab (tabla), percussionist Ziya Tabassian (Riq), Jason Schneider (on trumpet and flugelhorn – ethereal-Nordic like Nils Petter Molvær), and Christopher Herrmann. His cello can be heard in the finale of the album, “Sanjus Waltz”, dedicated to Clouths young daughter, whose laughter opens the lullaby – a Baroque-seeming waltz, swinging like Gypsy jazz and with Clouth scatting along to his guitar lines. The groovy “Disco Stu” (“Not to be taken too seriously”) is a bit of an indulgence on Clouth’s part on a listen-only album like “Return Flight”. “Kusadasi Kelim” is no less of a surprise, named in fact after a carpet and animimated by Turkish art music, with which Clouth became familiar through the Baglama virtuoso Deniz Köseoglu.

“Return Flight”: Soulful music whose spirit will touch listeners from all over the world.



“Return Flight”, Max’ first album as leader released April 24, 2015 on Bellaphon. Recorded in Frankfurt and Mumbai featuring nine musicians from three continents including singer/songwriter TL Mazumdar, sitarist Hindol Deb and percussionist Ziya Tabassian, “Return Flight” is a very personal reflection of Max’ artistic and personal development.

So far, “Return Flight” has received excellent reviews:

“Exotic percussion, sitar, a playful fusion sound – it all comes together on the album “Return Flight”.”
Rolf Thomas, JazzThing

“Volker Kriegel, Michael Sagmeister, Torsten deWinkel, John Schröder, Thomas Langer, Jürgen Schwab and Martin Lejeune. This illustrous company is now joined by Max Clouth.”
Detlef Kinsler, Offenbach Post

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GUITAR – 2011

Recorded at The Blue Frog Studios in Mumbai in 2010, Max Clouth’s first solo album GUITAR was released in early 2011.

Lothar Trampert wrote about GUITAR in Gitarre & Bass: “An impressive guitarist. This Frankfurt based musician studied Jazz and Indian Music, played Hendix gigs and has now produced an acoustic solo album that sounds incredibly vivid, emotional, varied, unpretentious and enamored with music. Max Clouth has a unique way of  phrasing, his acoustic playing has a broad spectrum of sounds. And what he makes out of Bach’s “Air” is touching. A more than impressive guitarist.”

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“The compositions reflect the sounds of the Indian subcontinent. Clouth adapts Sitar techniques on the guitar and incorporates it into his musical West-East transfer.”
Norbert Krampf, Frankfurter Allgemeine Zeitung

Wo Jimi Hendrix und John Mclauglin als Paten winken, bewegt sich auch Max Clouth mit Fluggeschwindigkeit und scheinbar mühelos, wobei er nicht nur expressiv wilde Läufe, sondern auch sanftere Zwischentöne anschlägt.

Concerto Austria

Erstaunlich gereifte und ganz und gar nicht an Weltmusik-Klischees orientierte Musik-Fusion… sorgfältig durchdachte und klanglich durchgestaltete musikalische Gebilde voller Zitate und Verweise…

Hans-Jürgen Linke, Frankfurter Rundschau

“…playful fusion sound.”