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Klaus Gesing

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Reviews of Klaus Gesing

 

01/10/2005 Andreas Felber / Der Standard (A)

Klaus Gesing & Glauco Venier play Songs

Filled with trust for one´s own and his partner´s musicality, letting loose, taking and generating ideas from a common repertoire, following only the necessities of the musical moment: Klaus Gesing, Vienna based Soprano-saxophonist and the North Italian Pianist Glauco Venier celebrate this high art of free and yet song based improvisation in an impressive way and full of devotion.
'Play Songs' recorded live in Izola, Slovenia, in February 2002, is the breathtaking proof that what counts in Jazz is still the 'How' and not the 'What'.
Old Standards ranging from 'Old Man River' to 'Tenderly' form the not overly spectacular base of discussion, but they are only a means to an end.
The process of communication itself is the topic here, and it doesn´t follow any strict rules. They begin in free associativity, exchange ideas, react, persist, let a thematic structure develop itself, then paraphrase it-before finally emerging into the freer areas of improvisation-everything is steeped in energie and the joy of playing music, so that also the borders between soloist and accompanist become indistinct, and the musical ideas seem to flow simultaneously from to wells.
Gesing and Venier invent sort of a free chamber music based on the Great American Songbook, and fascinate next to their virtuoso interaction - that since a couple of years they demonstrate also in collaboration with the Azimuth-vocalist Norma Winstone - with the luxurious abundance and meticulous conciseness of their musical ideas. Awesome! felb

 

01/08/2002 Martin Schuster / Concerto (A)

Klaus Gesing and Glauco Venier play Bach

A serious and at the same time highly original confrontation with the music of J.S.Bach: the german saxophone player Klaus Gesing and the italian pianist Glauco Venier have chosen some of the better known pieces of the gigantic Oeuvre J.S.Bach´s, and translated them, very respectfully and with well proportioned humor, into a lyrical jazz language. Sometimes they stay rather close to the original and 'merely' improvise on the structure of the tune, but sometimes, as in the case of the Menuett from the 1st Suite for Cello Solo, they dare more and radically reinterprete the piece using percussive effects. Klaus Gesing´s hoboe-like soprano saxophone sound fits especially well in the overall impression of this CD, that is strongly influenced by the sound of the room they recorded in: Palazzo Linussio, in the north italian City of Tolmezzo. The musician´s decision was absolutely right: to tolerate some minuscule deficiencies concerning the recording and playing in order to have the full glory of this room´s acoustic and live ambiance. Among the highlights of this recording there is an extremely inspired version of the Preludio in C-Major of 'Das Wohltemperierte Klavier', the wonderful Aria from the 3rd orchestral suite and a meditative medley consisting of four chorals that where taken from Bach´s St Matthew- and St. John Passion. schu

 

01/03/2001 Hans-Jürgen von Osterhausen Jazzpodium (GER)

Klaus Gesing "First Booke of Songes"

The titel gives a hint to John Dowland, who´s music was an object of studies for Klaus Gesing, saxophonist, bassclarinetist living in Vienna, but we are dealing with a most original and personal debut CD of an exceptionally talented and promising musician. The ten titles, that Gesing recorded on this first – titel(!) – CD with his italian friends Glauco Venier, p, Salvatore Maiore, b, und Roberto Dani, dr, perc, are the result of his research for his own personal musical conception: his folkmusic, as he calls it, stories of places and events that he experienced. Consequently, the music has a strong emotional streak to it, to be seen already in the first piece of the CD "On the dark side", that starts with an overwhelming soprano-piano cadenza. Beautiful compositions, never only nice nor superficial, wrapped in brilliant improvisations full of virtuosity: this is how a voice of european jazz presents itself, that is going to be heard a lot of in the future. During the WDR-Festival in the november of 1999 he already presented his conception. Except the "Bürgerlied", the hymn of the liberation from the 19th century, that he turned into a jazz-titel with a strong personal accent, all the pieces have been written by Gesing, expressing an extraordinary compositional creativity. Very convincing are also his three partners from Italy, especially the virtuos and likewise emotional piano-playing of Glauco Venier. A very convincing debut!

 

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