Two Worlds One

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“Two Worlds One”
A Musical Message to the World.
“TWO WORLDS ONE” is the name of the first album & band project of both KreuschBros. together, noted pianist Cornelius Claudio Kreusch, who has played with Herbie Hancock, Kenny Garrett, Bobby McFerrin, Salif Keïta & many others, as well as Johannes Tonio Kreusch, who has worked with Giora Feldman, Ornette Coleman, Markus Stockhausen, Andy York & many others.

Both prolific & innovative artists in their own fields, jazz/improvisation & classical/composition, they invited two of the most cutting edge world musicians: Famed Brazilian singer/guitarist Badi Assad, who has worked with Bobby McFerrin, Yo Yo Ma, John McLaughlin & many others, as well as master percussionist Jamey Haddad, who is currently in the bands of Paul Simon & Sting & played with everyone from Herbie Hancock to Dawn Upshaw.

The quartet creates soundscapes of beauty & rhythm, while Badi´s Portugese vocals add special flavor to a number of tracks. Recorded on the day after 9/11 in New York City, this album is now available for the first time to the public. It is also a musical manifesto for a world, that is united in the true sense of the word.

AVAILABLE as:
CD with 12 page Booklet, VINYL, DIGITAL & VIDEO.

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ARTIST Websites:
http://www.CorneliusClaudioKreusch.com
http://www.BadiAssad.com
http://www.JameyHaddad.com
http://www.JohannesTonioKreusch.com

CONCERT & LICENSING Inquiries:
info@musicjustmusic.com

LABEL REPRESENTATIVE:
Veronika.Preissler@glm.de

Two Worlds One

The Kreusch Brothers invited me and the percussionist Jamey Haddad to be part of their beautiful CD ‘Two Worlds One’. It’s receiving great reviews in Germany (where they are from). Now we have a video. You should check it out! Very, very beautiful. The lyrics are in portuguese, but there is an english version as well. I wrote it. A tribute to the Mother Earth. Very appropriate for the moment, by the way…

Badi@ Iridium Jazz Club

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Badi Assad At Iridium Jazz Club
By ERNEST BARTELDES

Backed solely by her nylon-string electric guitar, Brazilian singer and guitarist Badi Assad took to the stage in her first U.S. tour since 2007 in support of her 2015 release Hatched (Quatroventos, 2015). Before playing, she spoke of her mixed heritage coming from Lebanon, Italy, Portugal and Brazil, kicking off the set with “Eu Vim Daquele Lugar,” whose lyrics emphasize her country’s melting pot. She followed that with a tune inspired by the beats of northeastern Brazil filled with her characteristic mouth clicks and improvised vocalizations and quickly went into Rio’s classic bossa nova groove with “Basica,” a playful tune about how a white blouse might be unaffected by one’s perception of fashion, citing passages from Ary BarrosoAry Barroso
‘s “Aquarela do Brasil in her playing.

Aware that many fans were there for her earlier material, she included several instrumental pieces that enhanced her guitar chops. But her focus that evening was on Hatched so she quickly dove into material, starting with Mumford & Son’s “Little Lion Man” with a bossa nova-like feel that was quite different from the original recording. She then followed with Hozier’s “Sedated,” again taking the music in a completely different direction using mostly her guitar’s harmonics as accompaniment to her singing.

read more

Exclaim!

“Brazilian nylon-string guitarist Badi Assad (pronounced bah-gee ah-sah-j) is regarded for her musical fearlessness and experimentation, and her third project, Hatched, continues in this fashion, with nine tracks that cover recent American pop songs. The results are diverse and satisfying”.
By Ryan B. Patrick (Exclaim!)

http://exclaim.ca/music/article/badi_assad-hatched

Breaking the chains

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Pop music can be hit or miss these days. Badi Assad (pronounced bah-gee ah-sah-j) wholeheartedly agrees, yet she hasn’t lost all faith in the idiom. On her latest album, Hatched, the Brazilian-born nylon-string guitarist known for her adventurousness—including pairing classical guitar vocabularies with “prepared guitar” techniques like placing drumsticks under the strings for unconventional timbres—uses her guitar and lovely singing voice to reimagine recent tunes that she finds especially meaningful. This includes songs by Mumford & Sons, Lorde, and Skrillex. Assad even tackles “The Hanging Tree” from The Hunger Games: Mockingjay—Part 1 soundtrack, as well as three of her own compositions. The nine-song release is Assad’s third album on her own Quatro Ventos label.

“When you choose a song [to cover], you have to agree with what it’s saying. It has to be true for you,” explains Assad. While the original vocal melodies and lyrics for the selection of tunes on Hatched remain intact, the music underpinning them has been skillfully reengineered.

Assad says she first acquired the music bug from her brothers, Sérgio and Odair, both renowned classical players. Her father, Jorge, also played mandolin. “I used to say that I started the guitar because of my love for my dad,” she says. “When I started playing the guitar, my father ‘discovered’ me and we became friends playing together. We became friends through music.”

New doors opened when Assad added her voice into the mix, combining conventional singing with vocalizations mimicking the sounds of other instruments. Her playing and singing have been featured on movie scores, children’s albums, collaborations with such notable jazz guitarists as John Abercrombie and Larry Coryell, and a string of innovative solo albums.

However, Hatched isn’t Assad’s first foray into pop cover territory. In the past she’s played Bjork’s “Bachelorette, ” U2’s “One,” and George Harrison’s “ While My Guitar Gently Weeps.” And even though some of the cover material on her latest LP was originally associated with electronics, samples, and loops, she didn’t feel the need to be that literal in her reinterpretations. Instead, she opted for more traditional instrumentation: Upright bass, percussion, and accordion variously weave together with Assad’s intricate, harmonically ingenious nylon-string work to create an understated beauty. Some tracks are whimsical, while others are darker in mood. And often there’s an added sense of romanticism and maturity not found in the original recordings.

Read the full text @ premierguitar.com

Little Lion Man

The first video of my CD ‘Hatched’ in now on youtube! A song by Mumford & Sons called “Little Lion Man” that I did in a Brazilian bossa-nova style. The video was directed by Pedro Paulo de Andrade and produced by Vetor Filmes. A balm for the chaotic life on the big cities. After all we are free and have wings under the imprisoned suits and ties of the metropolis.

Badi Assad At Iridium Jazz Club

‘Assad has the ability to expand on simple melodies to her advantage—she often uses the guitar as percussion, hitting against the pickup to create an extra beat that creates a backdrop to what she is doing with her left hand. She uses no effects of loops—her guitar is plugged into a direct box and nothing else, so it is pretty amazing to witness what she is able to do with no embellishments.’
by ERNEST BARTELDES, (Badi Assad At Iridium Jazz Club)

Donnerstag, kultkomplott.de
22.10.2015

KreuschBros. „Two Worlds One“ GLM

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Anfangs haben sie gemeinsam musiziert – als Kinder. Dann haben sich die musikalischen Wege der Kreusch-Brüder getrennt. Der Pianist Cornelius Claudio zog nach New York, um hier an seiner Jazzkarriere zu feilen. Der Gitarrist Johannes Tonio blieb in Deutschland und entwickelte sich zu einem gefragten Solisten im klassischen Bereich. Seit einigen Jahren spielen sie (auch offiziell) wieder zusammen und legen nun als KreuschBros. mit „Two Worlds One“ ein Album vor, bei dem der Titel zugleich Programm ist: Zwei Welten in einer einzigen vereint.

Doch das ist nur die halbe Wahrheit. Denn es sind nicht nur die instrumentalen Stimmen von CCK und JTK die hier miteinander verschmelzen. Hinzu kommen die brasilianische Sängerin Badi Assad und der US-Amerikaner Jamey Haddad am Schlagwerk. Insofern sind es vier Individualisten, die ihre musikalischen Erfahrungen in den Ring werfen und damit die Kulturen der Welt, zumindest für die Dauer von fünfzig Minuten, näher zusammenrücken lassen.

Das Album ist das Ergebnis eines langen Prozesses, eingeleitet durch die dramatischen Ereignisse des 11. Septembers 2001. Im Laufe der Jahre wurde immer wieder an den Grundmotiven und am Inhalt gearbeitet, wurden neue Ideen eingeflochten, alte verworfen. Die Zeit hat sich gelohnt.

Es ist eine flüssige, rhythmische Sprache, in der das Quartett kommuniziert. Es lässt teilhaben an vielfältigen Ideen, es schafft Spannungsbögen aus scheinbaren Widersprüchen und besticht mit einer unangestrengt wirkenden Intensität. Dabei gelingt das Anspruchsvolle gefällig und das Eingängige klingt ansprechend. Es ist eine Klangreise hinaus in die von verschiedenen Kulturen geprägten Musikauffassungen. Randvoll mit Eingebungen und Suggestionen besticht die Offenheit allem Unkonventionellen gegenüber. Pop und Jazz bewegen sich hier auf Augenhöhe, Klassik und Folklore stehen in einer freundschaftlichen Beziehung. Eine befreite Musik, befreit von Förmlichkeiten und von Klischees. Es ist das Ergebnis
faszinierender Gruppenarbeit. Kühn und stolz und schön.

helga b