bbe, Dizzy Krisch im PiPaPoi, Vibraphone Diaries blätterte Dizzy Krisch in den musikalischen Tagebüchern der großen Vibraphonisten des Jazz.,Bild: THomas Neu
“Roof Songs” intimate and sparkling – was the planned final evening of the IG Jazz Stuttgart Winter Jazz Festival. However, a last-minute change occurred: the magnificent Tübingen bassist Karoline Höfler had to cancel due to injury.
Her duo partner, Dizzy Krisch, promptly invited his son to join them in presenting their duo album “40 y,” released to celebrate Anselm Krisch’s birthday. This led to a unique jazz partnership: two generations united by a shared musical passion.
The love of performing jazz standards and original compositions in a duo setting is deeply rooted in the work of the renowned Tübingen vibraphonist Dizzy Krisch. It is precisely in this stripped-down form that the musical dialogue unfolds with particular intensity.
As in all his projects, Krisch places great emphasis on an atmospherically coherent program in which the personality and individual strengths of his duo partners organically shine through. He shares a very special musical relationship with his son, Anselm Krisch, on piano.
Anselm Krisch, who grew up with his father’s music, consistently developed his own artistic style even during his piano studies. Today, father and son meet on stage respectfully as equals. In their program “Outstanding Songs,” they combine jazz standards with their own compositions, captivating their audience.
The audience was deeply impressed by the performance and only let the duo leave the stage after an encore.
Effortless and limited. Exploring the contrasts and their fusion in an improvisational and compositional context.
A truly special experience—and at the same time a stark contrast to the music of the Krisch Duo—followed on stage. Two outstanding musicians took to the stage to explore sonic boundaries.
Swiss saxophonist Marcus Weiss, professor of saxophone and chamber music at the Basel Academy of Music since 1995, met Reinhold Braig, who has worked as a sound engineer and music informatics specialist since 1998 and seamlessly integrates live electronics, synthesizers, and spatial sound into his music.
Electronically generated sounds, seemingly limitless in duration and intensity, unfold with impressive presence through loudspeakers. These are contrasted with the saxophone sounds produced by human breath—naturally limited and bound to the body.
Braig and Weiss take this tension-filled contrast between machine and physicality as the starting point for their duo project sDELTA. Acoustic and electronic layers intertwine to form a sonic unity that simultaneously makes their differences audible—including fluid role reversals.
Rooted in both the jazz tradition and contemporary music, the two musicians combine spontaneous improvisations with notated passages. These sounds intersect with multifaceted electronic textures that encompass the entire concert hall, making it itself part of the composition.
However, this very aspect likely presented a challenge: the performance space proved too small for the power and expansiveness of the sounds. Some audience members were visibly overwhelmed by the intensity and experimental nature of the performance.
Dizzy Krisch – vibraphone
Anselm Krisch – piano
Marcus Weiss – saxophone
Reinhold Braig – live electronics
