|
Concert Reviews
Niccolo Paganini's "Moses Fantasy Variation on One String"
gave the listener more insight into the capabilities of the double
bass. Originally written for the violin, the "Moses Fantasy"
is written in a virtuosic style that has become Paganini's trademark.
Just the mere thought of playing Paganini's mesmerizing lines would
dispel most performers from attempting it. To try to play them on
the double bass seems almost impossible. However, Sturm was amazing
in his facility to negotiate the work's difficult passages, all
the while allowing different tonal sounds to emanate from the instrument.
In Sturm's hands, the double bass is an instrument with endless
possibilities.
Jeffery Pappas, Telegraph
Herald
His piece for Joelle Leandre was so gorgeous the capacity audience
was visibly stirred.
International Society of
Bassists Convention Review,
Bass World Journal
Ball State faculty member Hans Sturm was featured on the next work,
Koussevitsky's "Concerto for Double Bass, Op. 3." The
piece called for a great deal of upper-register notes on the bass,
which can be a physical burden due to the sheer size of the instrument.
Sturm deftly overcame these obstacles, enriching each melody of
the solo with a musical sense of vibrato and careful attention to
the dynamic requirements of the piece.
Ian Palmer, The Daily News
Sturm: Champion of the cutting edge.
Dean Robbins, The Isthmus
Ball State is fortunate to have Sturm. His incredible talent defines
jazz bass. He must be considered one of the best players anywhere
today.
Brad Meyerdierks, The Star
Press
Sturm's phenomenal agility on the large double bass captivated
the audience and fellow performers alike. Perhaps the best display
of Sturm's talent was during the ballad Angel Eyes. Using the bow,
Sturm deftly played the part traditionally written for the more
nimble trumpet.
Brain Ross, The Daily News
The bass work of Mr. Sturm was as nimble as we have come to expect
from this man. Hans knows his way around outwardly dissonant styles
of jazz, blues, and classical theory and mixes them casually into
a brew of breathtaking depth.
Arthur Durkee, Milwaukee
Night Sights and Sounds
Record Reviews
 Sturm's
brilliant and effective bass playing in Love Comes and Goes and
Round Midnight make for exhilarating listening (Landscapes, Red
Mark Records).
Robin Stowell, Double Bassist
Sturm is a master of the double bass. He makes it sound like a
guitar, violin, a horn as he plucks, slides, and bows. He does more
than accompany Allen, he is her equal partner (Landscapes, Red Mark
Records).
Dave Nathan, The Jazz News
Another highlight is the soulful solo by Hans Sturm on "Where
Do You Go?" - this must now rank with the Frank Sinatra and
Stan Getz interpretations of this memorable Wilder-Sundgaard song
(Blackberry Winter, Mark Records).
Ron Prather, Alec Wilder
Review
A mapping onto music of sunset and night sky, this neo-classical
work combines elements of world music, modern jazz, and more with
an avant-garde approach and stunning improvisation. The scintillating
eight-movement opus offers the unexpected meeting of the Japanese
koto and double bass, exotic African percussion and operatic vocals
(Fireflight, Innova Records).
Tom Schulte, All Music Guide
Sturm plays throughout with admirable technical facility and aplomb
(Fireflight, Innova Records).
Robin Stowell, Double Bassist
At one moment it sounds like ancient tribal ritual music, and the
next, it evokes scenes of natural phenomena - awe inspiring landscapes.
This trio paints pictures with sound that challenge the mind and
imagination of the listener (Bird of Prey, Bassic).
Todd Coolman, Bass World
Journal
Throughout the album Sturm's playing - especially with the bow
- is expressive, delicate and darkly resonate (Bird of Prey, Bassics).
Kevin Lynch, The Capital
Times
Overall Winner 1990 Cadence Magazine Editor's Choice New Release
Award for
Carl Michel, Food of Love
Wildman's trio contributes an odd-timed, Steve Colemanesque funk
tune that is ultimately notable for the leader's muscular, ostinato-based,
gospel-tinged outward-bound solo, and as a showcase for Hans Sturm's
considerable improvisational skills (Gathering, Madison Music Collective).
Chris Kelsey, Cadence Magazine
The peripatetic Sturm needs far less introduction to Madison listeners.
His daring and puckish playing with Joan Wildman, for example, shows
how well he matches up with guitarist Grassel. The 'Adventures'
are all originals, with richly crafted musical dialogue and atmosphere
(The Adventures of Jack and Hans, Bassics)
Kevin Lynch, The Capital
Times
|
