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Klaus Lessmann

Klaus Lessmann (Clarinetist, Saxophonist, Composer, Arranger, Conductor) Originally from Burghausen (Germany), he studied classical music and jazz at the Musikhochschule Graz (Austria) and has lived since 1986 near Siena in Italy. He teaches jazz (clarinet, saxophone, combo, big band, arrangement) at the school of the Siena Jazz association and in other schools and workshops, and is regional coordinator for Italy of the International Association of Schools of Jazz (IASJ). He also teaches music to kids in regular schools. He performs with all sorts of groups, from dixieland and gypsy jazz to contemporary stuff. Ten years ago he founded the Siena Jazz Big Band, which ever since has dedicated much space to two great musicians: Duke Ellington (with transcriptions of the originals, mainly of the thirties and forties) and Julian 'Cannonball' Adderley (with original arrangements of the band's greatest hits). He also writes a lot for his clarinet quartet, and has had two books of phrasing studies published by Ricordi.

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KLAUS LESSMANN, THE MUSIC OF JELLY ROLL MORTON From Italy comes Klaus Lessmann’s homage to the music ot one of Jazz’ founding fathers. Morton’s was among the first Jazz Lessmann heard and, despite Lessmann’s being an obvious modernist, it had a profound effect on his music. Among the reasons Lessmann was attracted to Morton was the multi-partite structure of the music. Morton frequently wrote employing different sections (or strains) which was a compositional holdover from the ragtime era. In general, since Morton’s time, small group Jazz composition has become more "simplified." Lessmann felt that these more elaborate compositions might present his improvisers with new challenges and force them not to rely on personal cliches that may have developed.

Lessmann adopts a variety of strategies in approaching the music. Although the full group is a sextet, he also works with smaller cornbinations. "The Animule Ball" is a romp for clarinet, bass and drums. Morton’s tango "Spanish Swat" is scored for clarinet, piano, and bass and this instrumentation puts the lovely melody in stark relief. "Frog I More Rag" is done as a duet for piano and clarinet.

But, for the majority of the tracks, Lessmann uses the full ensemble. It should be mentioned that these are modern arrangements, not recreations of the Red Hot Peppers recordings. It’s surprising how easily these songs adapt to contemporization. "Fickle Fay Creep"’s, middle strain is played over a pedal point and sounds as if it could be from Ihe Coltrane era. Sometimes Lessmann slows down ("Crazy Chords") or speeds up ("Primrose Stomp") the original tempo. Perhaps the most unusual arrangement is "King Porter Stomp" which is done in a mid-tempo 3/4. Initially a shock, afler a few listens, it becomes more natural. Even in 3/4, the final riffing section accrues a demonic energy. There’s true strength to these compositions (presumably, as Morton intended).

The soloists rise to the occasion. Lessmann, normally a multi-reed player, sticks to clarinst for the set. He has a rich, woody sound in the lower registers and his upper register work is never shrill. It’s also nice to see veteran ltalian saxophonist Gianni Basso with these younger players. The fullsounding front-line frequently sounds like more than three pieces owing to these players’ full-bodied tones.

This is a worthwhile project, well worth hearing. It demonstrates the adaptabitity and suitability of truly timeless music. I also suspect Jelly Roll would have hated it.

Robert lannapollo (Cadence)

Lessmann, a fine clarinettist and stalwart of the Siena Jazz organisation, asks and answers the obvious question in this set of Morton’s pieces. "Why do a record of Morton’s music in 1996?... Going back to Morton, I found myself having to deal with things that had nearly disappeared later on, such as multi-structure compositions, collective improvisation, different rhythmic ideas and a different harmonic language from the Tin Pan alley approach predominant in jazz standards and in many jazz originals." Such ideas are being seen, but have, as Lessmann states, "nearly disappeared". This project is one very welcome way of getting them back into jazz thinking. (Jazz Changes)

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