Workshops und Konzerte

Keine aktuellen Veranstaltungen.

Weiterführende Informationen und Biographie zu Klaus Gesing, Artist in Residence des Multiphonics Festivals 2017:

(Klicken Sie auf die Fotos, um zur Homepage der Künstler zu gelangen)

Multi-instrumentalist Klaus Gesing is a writer, player, bandleader and teacher on the vanguard of jazz. Professionally trained at the Royal Conservatory of Music in The Hague in Jazz (John Ruocco) and Classical (Leo van Oostrom) Saxophone , he finished his studies with a special remark for his compositions and artistic expression. He had additional studies and occasional concert appearances with David Liebman.

img 8656Gesing has been awarded Best Soloist at the Jugend Jazzt Competition in Germany/NRW (1988), Best Soloist at the Middelzee Jazz Festival (1994), the Van Merlen Jazz Prize (1995) and Best Soloist at the Vienne International Jazz Competition (1996).
He published several CDs in Duo with Glauco Venier (“Klaus Gesing and Glauco Venier play Bach”, “Klaus Gesing and Glauco Venier play Songs”) and began an intensive collaboration with Norma Winstone.

As a leader, the well received debut album “First Booke of Songes”, was followed in 2006 by “Heartluggage”, recorded and performed by Gwilym Simcock on piano, Yuri Goloubev (bass) and Asaf Sirkis (percussion). Described in a recent review in All About Jazz as “one of those hidden gems that commands attention from the get-go”. His long-standing partnership with Italian pianist Glauco Venier led to the stunning trio with Norma Winstone and three critically acclaimed albums on Universal and ECM. The second album, Distances, earning a Grammy nomination and a prestigious Académie du Jazz award. “Stories Yet to Tell” has again received rave reviews, while the Trio‘s latest release for ECM “Dance without Answer”, that has been published in January 2014, promises to be the Trio’s most imaginative musical testimony. Another appearance on the Label ECM (in 2009) is marked by the publication of Anouar Brahem’s “The Astounding Eyes of Rita”, a CD that is dedicated to the memory of the lately deceased Palestinian Poet Mahmoud Darwish. On this album Klaus Gesing appears playing only Bass Clarinet, an instrument that has become increasingly important during recent years. 2011 showed the publication of the „loopspool“ video made in Switzerland, where he presents his duo with American born percussionist Jarrod Cagwin. This project focuses on extended live-looping on a purely acoustic basis, bringing the use of computer in the process of acoustic music making to an all new level. A new collaboration, started in the spring of 2013, with the Swedish bass player Björn Meyer and the Swiss drummer Samuel Rohrer, “Gesing_Rohrer_Meyer” concentrates on “open_source_music” – a multifaceted project, crossfading improvisation and composition on a very contemporary level, using live electronics with an analog approach. As a composer – next to writing the main body of the musical material for his own projects and parts of the recent ECM releases with Winstone / Gesing / Venier – Klaus Gesing‘s commissions have included a music soundtrack composed for the the Stadtmuseum Gmunden, Austria. He has also composed a soundtrack to the 1928 silent film, “Joan of Arc” by the Danish director Carl Theodor Dreyer, in collaboration with italian organist and director Paolo Paroni. As a member of the ‘Jazz Big Band Graz’, two of his widely noted compositions appear on the album “A Life Affair” released by Universal Music (2004). In 2013 he has been commissioned by the Coro Friuli Venezia Giulia / Italy to write a piece featuring himself on bass clarinet and soprano saxophone. 2014 saw the publication of a new album by the Tunesian Oud player Anouar Brahem,”Souvenance”, featuring Francois Couturier on piano, Björn Meyer on bass, and a 18piece string orchestra on which Klaus Gesing delved further into the combination of bass clarinet and live electronics. Collaborations in the field of Jazz have been with, among others: Kenny Wheeler, Norma Winstone, Chris Lawrence, John Taylor, Dave Liebman, Take 6, New York Voices, Glauco Venier, Adelhard Roidinger Christian Muthspiel, Uli Rennert, Paolino dalla Porta, Wolfgang Puschnig, Peter Herbert, Jarrod Cagwin, Jamey Haddad , Thomas Alkier, Wayne Darling, Fritz Pauer, John Hollenbeck, Henning Siewerts …

 
Klaus Gesing: Realtime (2015) By TYRAN GRILLO,
Published: June 14, 2015 |

Klaus Gesing is best known stateside for his collaborations with Norma Winstone and Anouar Brahem, both documented to wide acclaim on ECM Records. The German multi-reedist's work with these honed ensembles polishes only a few of his diverse facets, which reflect his equal footing in classical and jazz training, as well as beyond. Whether in the soulfulness of Jan Garbarek or the genius of Herbie Hancock, the grandiosity of Gustav Mahler or the prodigy of Michael Jackson, he has taken inspiration from musical trendsetters across genres. Gesing's solo activities have produced a  comparable node of fascination on reaLTime, wherein one may  navigate the inner mazes of his craft, up close and personal. On this  album, he favors the bass clarinet, which often serves as the sole  means of melodic production throughout. I asked Gesing to expand  on his relationship with this notorious instrument.  "After finishing my conservatory studies in The Hague/Netherlands,  I focused for some years on soprano sax to get a handle on its  various difficulties. The soprano's range made it possible to find a  somewhat more personal approach to sound and choice of notes  than, say, tenor. Another reason was the strong influence of Dave  Liebman, with whom I'd studied a bit and kept in contact. But after  four years of nothing but soprano, I was missing the lower range.  By chance (if chance you want to call it) a friend of mine asked me  if I knew somebody that wanted to buy his bass clarinet, as he  didn't really use it. I dropped by his house, played the lowest note  first (it was a low c model, which I am still playing) and completely  fell in love with it. So I bought it and started to practice. It was not  an easy friendship at the beginning, as technically it is so different  from the soprano. But I sat it out, continued to practice and, bit by  bit, got more accustomed. At the same time the bass clarinet started to play a more important role in the trio with Norma  Winstone and Glauco Venier. And when Anouar Brahem invited me  to play in his new quartet to record The Astounding Eyes of Rita, we  met for a rehearsal to decide on which instruments were going to  play a role on the CD, which gave me the chance to dig deeper into  the possibilities of the instrument."  It was around the same time that Gesing began experimenting with  the compositional potential of live looping technologies. The already-versatile instrument thus became even more so at his fingertips, which on reaLTime elicit from it a range of expression notheard since John Surman. The comparison to Surman is an easy one, for the British reedman-composer's own solo albums are master classes in multi-tracking. In Gesing's darkly forested arrangement of the standard "The Thrill Is Gone," for instance, one can hear a likeminded crafting at work. And yet, where Surmanworld of sound has explicitly defined oceans and continents, Gesing's would seem to make no distinction between land and water. True to concept, he plays everything in real time, using only the looping mechanisms at his immediate disposal. To the clarinet's gamut he adds the percussiveness of his own body (tongue, cheeks, breath) and the incidental rhythms of key depressions. Gesing reveals his rigorous classical training in an original arrangement of the "Ave Maria" by 16th-century Flemish composer Jacobus Clemens non Papa. Here the low reed sounds like a church organ. Ashen and breathy, it sails beneath a flock of melodic murmurations. Still, his jazzier inclinations are not far behind, as growls soon turn the piece into a sacred blues. Ironically enough, his above-mentioned take on "The Thrill Is Gone" leans more toward classical constructions, balancing the timbral extremes of bass clarinet and soprano sax with comfort. To this combination, "Dorothy's Dance" adds a small flute for delightful contrast. The latter tune is but one among a large portion of originals, of which "Quarter 2 Five" and "Three 2 Four" are the most distinctly off- kilter. Gesing's vocal timekeeping further broadens his field of reference to Indian classical territory, spinning an elemental feeling of travel across huge swaths of development. "A lot of what I write uses odd meters," he admits. "'Quarter 2 Five' is simply based on the movement of five against four, while 'Three 2 Four' is based on a cell of 3 4/4 bars with 2 3/2 bars stacked on top. It somehow shifts the way you hear the music, and gives it a floating quality. Working with the loop instrument I have on hand makes it easy to use complex interpolations and orchestrate them in such a way that what comes out in the end, I hope, goes to your feet rather than to your brain."
Gesing's setup gives him the freedom to explore improvisational textures, which across three titular excursions take ad-hoc flight.  Their subtitles—"Morning," "Noon," and "Night"—indicate a cycling of hours in a day, but also an awareness of the seasons and an  equality of terrain. "Noon" is a tactile hunk of beauty the finds the
bass clarinet accompanied only by its echoes, while the more urban- flavored pulse of "Night" develops a klezmer-like veneer toward the finish. The album closes in the wide, melodic embrace of "Snowflakes," which from a deeply grounded hub spreads interlocking motifs, crystal by crystal. Like the cover photograph, taken by the composer on a cold morning in Poland, it plays with notions of reality through exaggeration and delineation. It also emphasizes an intimacy of expression that looks as much inward as outward. "In the German language," says Gesing, "one can have a 'Zwiegespräch,' or conversation, with oneself, which means that you talk very honestly and openly to yourself. When important decisions are to be made or a crisis needs to be dealt with, you get into a "Zwiegespräch' with yourself, trying to illuminate all aspects in order to come to the best possible conclusion. It is nice for me to know  that a feeling of intimacy is being transported by the music." Track Listing: Quarter 2 Five; Realtime I: Morning; Three 2 Four; Ave Maria; Dorothy’s Dance; Realtime II: Noon; The Thrill Is Gone; Realtime III: Night; Snowflakes.

Personnel: Klaus Gesing: bass clarinet, soprano saxophone, flute,

miscellaneous percussion.

Record Label: Edition Tonspuren

Discographie:
 
 
reaLTime-by-Tyran-Grillo-in-All-About-Jazz.pdf
Page 3 of 3


Förderer