DUO HASLER HANSCHEL

GABRIELE HASLER
VOICE, LOOPS, COMPOSITION, WORDS

ROGER HANSCHEL
ALTO SAXOPHONE, LOOPS, COMPOSITION

THIS DUO OF INSTRUMENTS UNUSUALLY COMBINED, HAS BEEN AROUND SINCE 1994 AND CAN LOOK BACK TO NUMEROUS CONCERTS, FESTIVAL PERFORMANCES AS WELL AS RECORDINGS. BOTH ‘LINEAR WIND INSTRUMENTS’ (HANS JÜRGEN LINKE) EQUALLY ASSUME THE RESPONSIBILITY FOR THE GROOVES AND HARMONICS, FOR MELODY AND ENERGY, FOR SOUND AND DYNAMICS.
TEXTS AND COMPOSITIONS ARE SPUN OUT, ILLUMINATED AND DECONSTRUCTED IN VIRTUOSO, HIGHLY EXPRESSIVE IMPROVISATIONS.

Current Programs:

I.
PIGEON

The duo has named its program Pigeon, in which it has formulated its point of departure in the realm of European contemporary chamber music. Using English-language, partially onomatopoetic texts from Gabriele Hasler, sensuous-conspirative tonal worlds emerge, as do finely differentiated compositions and improvisations. Selectively using live electronics, the duo plays with multi-channel techniques that they have recently added.

... Hanschel’s sensitive improvisations strengthen, wind around and enthrallingly contrast the dark timber and the bizarre sound-language inventions from Hasler. This happens in a gorgeous groove, in a sparse discourse of a harmonically open form and in amorphic, surreal phonetic images. The austere beauty of a vulnerable emotionality in delicate songs: it would be a pity to only let purists and insiders hear them. Music for the soul and intellect ...

(FÜRST, REGENSBURG 2006)

... In the course of the evening, the concert moved between – in a literal sense – nonsensical depths and avant-garde heights; in between, it became absolutely entertaining. Saxophone and voice became entwined, let go, joined together to truly become a ‘delicate, chamber music-like ensemble’ ...

(ALBRECHT-JOACHIM BAHR, DIE NORDDEUTSCHE, 15 APRIL 2004)

... Hasler’s organ produces everything that a voice can do: she lisps, whispers, and stammers, moans and buzzes. Between the lowest and highest tones, the singer produces all possible onomatopoeias. Then, however, the relationship changes, and Gabriele Hasler fills the room with a deep voice, while the saxophone begins to stammer and chirp. Jazz criticism alone cannot deal with these streams of sound. Indications of Gregorian chant could be heard, as well as minimal music and ethnic influences. And what with all seriousness, humour, pleasure and lightness always swing along ...

(DIE RHEINPFALZ, WALTER FALK, 23 JUNE 2005)

... But then, with his saxophone, Hanschel intervenes in a masterly and sensitive way. His circular breathing technique is fascinating, making his music seem almost hypnotic, which is able to carry the listener away as if on a wave. With his saxophone he holds dialogs with Gabriele Hasler; alternately, the word leads, or is listened to with restraint, or enters into a fierce dispute – fascinating tonal images are the result of this mixture ...

(LANGENAU AKTUELL, 2006)

... the duo Hasler Hanschel – a music that demands the full attention of the guests, that exudes humour and delightful energy along with all its seriousness, that makes one feel the enthusiasm both musicians had while performing. A remarkable, entrancing guest performance ...

(SCHWÄBISCHE ZEITUNG, 2007)

... This music produces a floating condition, in which one would like to remain, because it is so rich and intensive – a conspiratory world of sound, in which one breathes and feels together. It produces a strong intensity: Gabriele Hasler’s voice and Roger Hanschel’s saxophone are two music instruments, rich in sound and played with a virtuosity far beyond the common. One hears their similarity, which consists in making air columns resonate – ’wind music’ is the beautiful English word for this; we translate it best simply as ’wind music’ into German ...

(HANS JÜRGEN LINKE, FRANKFURTER RUNDSCHAU)

MP3-Soundfiles: PIGEON

II.
CANTA RHEI

Exclusively in churches is where the duo Hasler Hanschel performs its new hour-long program Canta Rhei. The basic idea of ‘flowing‘, the subtle change of perception through elapsed time, is most clearly understood in the scope of a concert series, but Canta Rhei is also possible as an individual concert. The compositions conceived for voice and alto saxophone have a flowing, meditative character and are especially tailored to the acoustics of a church space. Improvisation takes the predetermined material on further, in a dialogue, which is, in part, gently supported by electronics. In the center is found the sensory experience of sound and time.

... One can easily imagine this clear, alto voice, carrying itself far, in a cathedral – it belongs to the singer Gabriele Hasler. Her singing appears to impart a clear message; sometimes it almost seems like a sung prayer. And the warm sound of the alto saxophone, which caresses the singer in wonderfully harmonic and melodic arches, also appears to strive towards transcendental realms ...

(WOLFGANG PLATZECK, WAZ, JULY 2006)

... Not from this world. That’s, how the sounds appear, which the duo Hasler and Hanschel bring to our ears in an unusual concert series in the Jesus Christ church. The voice of Gabriele Hasler carries the listener into foreign worlds. Multiethnic sung passages reverberated off the church walls, accompanied by the alto saxophone sounds of Roger Hanschel, which do not sound like a saxophone for long stretches of time. Instead the humming tonal patterns – often variations on one single tone – frequently remind one of the sound of a didgeridoo, and the light drumming with the fingertips reminds one of falling raindrops. During all this, the voice of Gabriele Hasler transforms itself from a human song to a gnome-like whispers, animal-like hisses, or imitates foreign sounds, reminding one of a babbling brook. Whoever lets himself get into this, can see entire fantasy worlds emerging before his inner eye. Music, to which one would like to lie down and close one’s eyes ...

(MEINERZHAGENER ANZEIGER, AUGUST 2006)

... Not insignificantly does the intelligent use of electronics contribute to the meditative, sometimes almost sacral tonal colors, which extend Hasler’s powerful, soft voice and Hanschel’s warm alto saxophone. In the room, loops from the reverb or produced live, float in a density never before experienced. An exciting encounter of ancient and contemporary music in a new programme from two brilliant and established musicians. Ultimately creating a smooth, bright and friendly atmosphere ...

(WESTFÄLISCHER ANZEIGER, OCTOBER 2004)

MP3-Soundfiles: CANTA RHEI

III.
LOVESONGS

Hasler / Hanschel play Dowland

With adaptations of songs from the English Renaissance-Composer John Dowland (1563 - 1626), the Duo Hasler/Hanschel is seeking new paths. The wonderfully melodic and harmonic ‘Lovesongs’ are both vocally and musically simple and unpretentiously interpreted. The improvised parts are put in between the ‘Lovesongs’ and are based on Dowlands lyrics and music. An exciting encounter of ancient and contemporary music in a new program from two brilliant and established musicians. Ultimately creating a smooth, bright and friendly atmosphere.

MP3-Soundfiles: LOVESONGS

... furthermore:

IV.
GO IN GREEN

Compositions by Hasler / Hanschel
( based on the poems & lyrics
of Gertrude Stein )

MP3-Soundfiles: GO IN GREEN

GABRIELE HASLER ...

... studied among others at the Berklee College of Music, Boston, USA (from 1981–1983). Since the early 80ties she performed with several ensembles and band projects in Europe, South Asia and North Africa. With her singing and her compositions she is considered as one of the most interesting European voices.
She combines elements of free improvisation, jazz, avant-garde and world music, creating a very individual and contemporary style. She writes her own poetry and also often refers to modern poets (such as Gertrude Stein > see above!). Her singing can be considered as a process of exploring the limits of the human voice.
1981-1989 she led her own quartet ‘GABRIELE HASLER & FOOLISH HEART’.
1984 she received the most well-known German jazzprice (SWF-Jazzpreis).
1991-1996 she worked with her quintet ‘GABRIELE HASLERS PERSONAL NEWS’.  1994 she began to work with the German poet OSKAR PASTIOR.
She also regularly performs with German drummer GÜNTER ‘BABY’ SOMMER.
As a soloist, she has been invited to work with several larger ensembles (among others with symphony orchestras). Also she wrote compositions for large church choir. She can be heard on 25 CDs/LPs and leads her own record label ‘FOOLISH MUSIC’.
To teach her own and individual approach of improvised singing, she runs her own ‘CREATIVE VOCAL CENTRE’ and gives many workshops.
In 1999 she started Solo performances, called ‘FLOW’ (including the use of live electronics).
Since fall 2003 she co-leads the tentet ‘GABRIELE HASLERS REGULAR NEWS’.

ROGER HANSCHEL ...

... began playing saxophone in 1975 (at the age of 11). From 1981-1987, he studied in the Musikhochschule of Cologne. In 1986, he studied for three months at the School for Fine Arts in Banff/Canada (teached by Dave Liebman, Dave Holland, Richie Beirach and others). Since then, composing is a major part of his work: Hanschel composes far from the mainstream, at the height of the times like few others ...
Hanschel examplifies the same intelligent-integrative agility as a performing musician on the saxophone, as he does as a composer. What first catches the attention is the lightness, with which Hanschel succeeds in melding the sound of his saxophone with, for example ... the so homogenous sound of a string quartet, or the voice of Gabriele Hasler (depending on the sitiuation he is playing in).
In 1981, he founded the group Nana (Hans Lüdemann / piano, Rainer Linke / bass, Klaus Mages / drums) and the Nana-Orchester.
Since 1987, Hanschel is a member of the Kölner Saxophon Mafia (SWR-Jazzpreis 1999, 5 Prices of the germann Records critics).
In addition, he has been playing in the groups Blau Frontal (Hans Lüdemann, Rainer Linke / 1989-1993) and planet blow (Carl Ludwig Hübsch, Jörn Schipper / 1993-1998).
1994 he founded, along with singer Gabriele Hasler, the Duo Hasler Hanschel (still working intensivly together, they recorded 5 CDs).
In the beginning of 1996 he founded his Duo with Dutch cellist Ernst Reijseger.
Since 1989, he has performed in Solo concerts.
In 1998 he became a member of the Steffen Schorn Septett.
1999 he joined the Klaus König Orchestra and Gabriele Haslers Personal News.
In January 1998 he realized his music for Saxophone and Stringquartet (titled ‘Years of the Fifth Period’), producing and performing it with the Frankfurt Contemporary Quartet. Later on (in 2001) he toured with the Auryn Quartett South-America (playing ‘Years of the Fifth Period’).
2000 he founded the band Triophere (with Steffen Schorn and Dirk Mündelein).
And 2006 was the Starting Year of the new Quartet Roger Hanschels Heavy Rotation (with Markus Segschneider, Dietmar Fuhr and Daniel Schröteler).
Roger Hanschel can be heard on 26 LPs/CDs.

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