A complex piece-of-cake - Klaus Gesing´s 'Heartluggage' by Andreas Felber His music has a virtuoso and round sound to it, but underneath it's surface - despite the lightness and ease of the performance - there lie structural complexities, multifaceted and often disguised references. They, in the opinion of the composer, may also be reflecting traces of a personal disruption. Soprano saxophonist and bass clarinettist Klaus Gesing, born in Düsseldorf (Germany), finished his studies in The Hague, spends a lot of time in Italy, and this notwithstanding has been living in Vienna since 1998- is an aesthete of sound: His profound and often fervid lyricisms prove to be musical thoughts of a more intricate and multi-layered nature than initially meets the 'ear'. Pleasant to the taste, sublime and self-evident: these may be the properties that one could attribute to Klaus Gesing´s music. A music that - despite all virtuosity - manages to maintain an aura of chamber musical transparency and is characterised by a continuous and nuanced flowage spanning structurally secure and organic musical phrases. A music that explores the profundities of emotional expression rather than the widths of experiment, a music that reconciles expressive intensity and lyricism. It is music of a piece - and Klaus Gesing - being the choreographer - manages to realise architectural stringency and an apollonian equilibrium. Or so it seems. 'My foremost interest lies in the aspect of communication' explains Klaus Gesing, 'though not at the expense of my integrity as a composer. In my opinion, tension is: knowing that something quite intricate and complex can sound very simple, a piece of cake, so to speak. The music gains intellectual depth and it enables me to communicate with experts and jazznovices alike.' This sort of statement raises curiosity insofar as it implies another layer, another code that lies hidden in the music of Klaus Gesing containing great structural challenges while being disguised behind a very relaxed surface. It is these sometimes diabolic complexities -often unperceivably simmering under the surface - that provide the music of Klaus Gesing - born 1968 in Düsseldorf, studying since 1990 at the Koninklijk Konservatorium te Den Haag and further growing in the masterclasses of David Liebman in Stroudsburgh, Pennsylvaniasubstance and refinement. The suspenseful ambivalence of a smooth and rounded acoustic appearance on the one hand, and his cunning compositional concept on the other, characterises the work of this since 1995 Austria-based wind instrumentalist. It coins his work for the Jazz Big Band Graz, as well as the until now most relevant recordings under his own name - the brilliant duo album 'Play Songs' (ATS-Records), recorded live in 2002 with the Italian pianist Glauco Venier, and the 2003 Trio-Opus 'Chamber Music' (Universal Music), with Venier and the British Vocalist-Magnificence Norma Winstone ('Azimuth'). This art of the 'complex nursery rhyme' seems to be even more characteristic for his new quartet 'Heartluggage', which came into being in 2004. Especially the music of this ensemble lives on the inner contrast of a very intricate structural concept and it's seemingly effortless rendition: 11/8 metres known from Bulgarian folk music for example, as in 'Dorothy's Dance' - where it appears in the form of a folkloristic flutepercussion- motif - 'Force on Fours' and 'Tanz ohne Antwort', or the contrapuntal interpolation of the instrumental parts, the 'rhythmic polyphonies' (Gesing), that create tension in the piece 'Heartluggage', giving the ensemble it's title. Gesing, per overdub, also employs audacious super-impositions of various layers of wind instruments. In the case of 'Here and Now and You Forever' they even culminate in a fugato. 'I have listened to a lot of folk music, and that deeply imprinted itself in my head', explains Gesing, soprano saxophonist with a liking for the high register, who easily intonates high up there where others produce mere noise-sounds. 'It manifests itself at every corner, not asking for my permission, and often in a very subconscious manner. The part of the folk music is like a secret code so deeply rooted in myself, that as a composer I never consciously decide in favour or against it. That's just me'. What lies behind this interest in musical tradition? 'Folkmusic is for me a synonym for 'Heimat', for being at home. May be, that my longing for it has got something to do with the fact that I am German, spent long years in the Netherlands, spend much time in Italy. My music also somehow reflects my own disruption, as I from time to time do not know where I can feel at home myself. Consequently one has to take refuge in feeling at home just with oneself, rather than with a topographical place.' The fact that the initial name for the project was not 'Heartluggage' but 'Eastern Enlargement'('Osterweiterung'), could lead to the conclusion that there might also be a paneuropean program to the music of Klaus Gesing - a conclusion that hits the mark while not reaching far enough. It is no coincidence that Gesing relies on a young and international group of sidemen: The virtuoso moscowian bassist Yuri Goloubev, who plucked the low notes for Michel Portal and Adam Nussbaum among a multitude of others, and as a member of a variety of classical orchestras worked with Barbara Hendricks, Thomas Quasthoff, Kim Kashkashian and other well-known soloists. Prove of his technical facilities can be the fact, that he transcribed and edited Mozart's Clarinet Concerto or Beethoven's third Cello Sonata for double bass and piano. In a variety of different ensembles, Goloubev developed an almost intuitive musical collaboration with the Israelian drummer Asaf Sirkis. He has been living in London since 1999 and draw a good deal of attention to his playing as a sideman - for example in the 'Orient House Ensemble' led by his compatriot Gilad Atzmon, as well as the leader of his own group called 'The Inner Noise'. The youngest member is the only 24 year old, welsh born pianist Gwilym Simcock, presently THE shooting star of the English jazz scene, who works also as a composer and French horn player in the field of classic and jazz. He has also worked with Kenny Wheeler, Dave Holland, Evan Parker, Norma Winstone and Lee Konitz, to name but a few. Notwithstanding this diversity of influences - manifest in the person of Klaus Gesing, and evident through the variety of different backgrounds of his co-musicians - the aim of this quartet is not a multi-facetted demonstration of the richness of Europe's folk music tradition. The topics that inspire Klaus Gesing and are being discussed in his music, are not of a political, but of a highly personal nature: they reach from the first attempts to crawl on all 'fours' ('Force on Fours') of his now four year old son, a love poem ('An meiner Küsten Strände', initially written for the composers collective 'Ambitus') to the experience of saying farewell to somebody ('To the Missing'). Klaus Gesing incorporates the ingredients of his musical socialization into his own world of expression in order to distillate nothing else than Klaus-Gesing-Music from it. Therefore also a gregorian choral and a frequently played well-known jazz tune can be integrated, without in the slightest altering the impression of unity, of a highly personal musical cosmos. The way in which Gesing treats John Coltrane's 'Giant Steps', how he hints at the melody during the ballad-like introduction, how he respells it with his own harmonies and how he reaches a completely different climax than the original: this can be taken as an instructive example of how to find one's own voice in the realm of jazz: don't adopt the needs of expression to the form, but the form to your needs of expression. The name of the group 'Heartluggage' may thus be read with a variety of interpretations: Klaus Gesing, being the musical European that he undoubtedly is, has found the center, the 'Heimat' in himself.