Klaus Bru's Elastic Standards at Jazzlive at The Crypt

Klaus Bru - C-Saxophones. Flute, Fake Voice, Jerome Fouquet - Trumpet, Michael de Souza - Guitar, Fender VI Bass, Orphy Robinson - Vibes and more, Lee Boyd Allatson - Drums and Percussion.

“A good song can't be killed!”

Take this quote from Tin Pan Alley composer Irving Berlin as the motto for the new project of London-based, German-born saxophonist Klaus Bru.

”Elastic Standards” promises adventurous excursions into the musical unknown, based on haunting melodies from the Great American Songbook which became dearly beloved Jazz standards.

"Elastic Standards" is field research in music, a quality control lab for time-tested songs and unforgettable melodies, a pilot study, an evaluation of what is left to be done with musical material that is soaked to the brim with tradition, an investigation into how much flexing a good song can withstand before it becomes unrecognisable....

read more

Klaus Bru - C-Saxophones. Flute, Fake Voice, Jerome Fouquet - Trumpet, Michael de Souza - Guitar, Fender VI Bass, Orphy Robinson - Vibes and more, Lee Boyd Allatson - Drums and Percussion.

“A good song can't be killed!”

Take this quote from Tin Pan Alley composer Irving Berlin as the motto for the new project of London-based, German-born saxophonist Klaus Bru.

”Elastic Standards” promises adventurous excursions into the musical unknown, based on haunting melodies from the Great American Songbook which became dearly beloved Jazz standards.

"Elastic Standards" is field research in music, a quality control lab for time-tested songs and unforgettable melodies, a pilot study, an evaluation of what is left to be done with musical material that is soaked to the brim with tradition, an investigation into how much flexing a good song can withstand before it becomes unrecognisable.

German-born saxophonist Klaus Bru plays the rare C-melody sax and the even rarer C-soprano sax, which he cares to electrify. He has traveled widely, for real and in music. His artistic output is characterised by its variety, and his musical concepts are not exactly the “out-of-the-box” type. Instead, Klaus Bru prefers to use combinations of “boxes” that differ in size, contrast in contents, and clash in colour: He brings in folk music from Eastern Europe, Turkey, and China, avant-garde ridden improv, cold blooded electronic noises and feedbacks, sounds of breath and saliva, pitches smaller than the distance between two keys on the piano, strange meters and odd tempos, plus – when the time is right for it – simple and singable melodies that move the heart and soul.

show less