Latin, swing, salsa, son, jazz, classic- apparently irreconcilable?
The Klazzbrothers navigate around the stylistic border zone - their home ground, with great ease. And yet their jazzy interpretations of classical pieces keep close to the original. Often it is only a matter of small shifts of rhythmic accent and - as if of its own accord - the theme of a sonata is transformed into a bold bossa nova rhythm. Or the original fundamental bass line is retained and expressive rich jazz chords are superimposed. Trademark of their music is however a confrontation of complex forms, structures and harmonies - a further development and creation of new, innovative sounds, preservation of the 'old' within the 'new'.

It is naturally to the credit of the Klazzbrothers that they write their own arrangements for their jazz-hungry interpretations and that they always like to include their own compositions in the programme. After all, complex structures are created in the course of their style of handling musical material, structures which require mastery in the casual, exalted, expressive style of jazz.

The music-making moment is always in the foreground. That is what brings the Klazzbrothers close to other musicians. In joint projects, for example with the Dresden Philharmonic Jazz Orchestra, founded by the Klazz Brother Kilian Forster, where the common features of jazz and classic are extended in symphonic complexity. Or with well-known soloists, such as the Klezmer clarinettist Giora Feidman, King of the Gypsy Violin, Roby Lakatos or the exceptional Czech musician, Iva Bitova.

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