German jazz trio, The Red Thread, joined together with Kate Michaels to swing the Marilyn Monroe songbook in 2004. Together they have shaped this Rat Pack swing show with their unique jazz style reflected in the musician's abilities to effectively interpret big band songs into a stunning trio format.

“We knew there was no way a trio could imitate a big band sound, so we went more for great trio versions of the songs.” says Kate. “We've ended up with something we're told continually makes people feel good, tap their feet and even sing along.”

The Red Thread performs with Kate regularly in addition to their own gigs in the Mannheim/ Frank furt area of Germany.

“Roland plays with such intensity. It's like he demands the bass give him what he wants.” – Eric Neuhaus

Roland Döringer, founder and bassist of the group, comes from Heidelberg, Germany. He specializes in double- and electric bass. He holds degrees from the Hochschule für Musik und Darstellende Kunst in Stuttgart and Musicology in the Ruprecht Karls-Univesität in Heidelberg. Roland's high demand as a soloist, orchestral member and side man in all kinds of modern music groups keeps him on the road.

“Roland's precision and creativity keep our work together,” says Kate. “He adds humour, scope, variety and excellence to each rehearsal and performance.”

Highlights from Roland's career include touring in Germany, Switzerland, Austria, Romania, Greece, Turkey, and Georgia. He has played with many groups and well-known soloists including: Wynton Marsalis, Jon Hendricks, Joe Gallardo, Xavier Naidoo, Janice Dixon, Lilly Thornton, members of the "Nationaltheater Mannheim" and the Argentinian Tango group El Tranvia. Jazz Big Band credits include "Galapagos" and "Big-Band-70" as well as the Heidelberg University Symphony Orchestra.

Roland's compositional and arranging work have been used with a short film production for the Saarland broadcast "Dulab`n Blu Zing – Jazz oder nie“, the Triplicated Trio, and the Nationaltheater Mannheim. Recording credits include Buenos Aires Hora Zero – Stunde Null (Latin Studio edición del Hito 2002), Crossroads & Changes (Casino Records 2000), Caminando Con Fé (Casino Records 2000), and Meets Lilly Thornton (Mons Records 2000) as well as many others. He also has his own Klezmer Band which specializes in Gypsy Music from the Balkans, the Klezmer Quartet Heidelberg.

Drummer Marko Klotz comes from Lörrach, a border town nestled between Switzerland and Germany . Choosing between a chef's career and drumming, he heard the famous Basler Drum Corps and decided to give music his enormous talent.

In 1994, moving to Mannheim, Marko began studying jazz and popular music at the Academy for Music and Performing Arts and The Mannheim Music Academy where he cites his work with Keith Copeland, Peter Lübke, Portinho, José Cortijo and Michael Küttner as being of tremendous influence in creating the style he has developed today.

Other major influences include Dave King, Thomas Stabenow, Stan Hall, Mike McNamara, Sandy Williams, Michael Küttner, Steffi Lais, Mojo Train, Little Over Easy and David Murray and his Latin Big Band in Cuba .

From Altdorf near Nürnberg Stephan Kraus began playing piano and writing songs when he was 15. At 19 he turned to jazz and travelled to Mannheim where he studied at the Academy for Music and the Performing Arts , specializing in jazz, composition and arrangement. Stephan Kraus can be seen every winter season at the Kerst Circus Ahoy and also was the musical director and arranger for the new musical Jump which premiered in Zürich 2004.

Here is an excerpt from a recent interview with Stephan.

MM: Who are some of your musical influences?

The player I've been most influenced by is Hampton Hawes. I like Hampton because every note comes from deep inside. It's music from the heart, a sadness that touches me. Other influences of mine are Bill Evans and Keith Jarrett.

MM: Do you play any other instruments?

I can play trumpet, in fact I started with it. But I don't practice, so I don't have the chops anymore.

MM: What about Swinging the Marilyn Monroe Songbook interests you?

I really like the style of old black and white films. And the charm of the music from that era. The show brings out the best of those times and recreates them.

MM: How did you make the arrangements?

The old school style has to be followed here. So one of the things I did was listen to the old recordings and then concentrate on making sharp arrangements. Kate is the show so the band has to support her. The instrumental parts have to be tight, long solos aren't really needed. But at the same time every part has to really be the most it can be.

MM: What would you like to see with this project?

A world tour with Kate and the Red Thread!