Zurich Jazz Orchestra & Thomas Gansch «Neat Little Songs»

In the 1970s, the Vienna-Zurich axis was none other than Mathias Rüegg. At the time, both the Zurich Jazz Orchestra (born in 1995) and Thomas Gansch (born in 1975) were still stardust or in the process of materializing. So much for the prehistory. In a kind of big bang phase, the musical-atomic connections in this millennium began to move within the same galaxy more and more. Thomas Gansch made guest appearances with the Vienna Art Orchestra (and of course with bands like Mnozil Brass and Gansch’n’Roses) in and around Zurich from time to time. And finally, in the 2000s, he also brought his splendid homage to his fellow trumpet player, the highly innovative composer and orchestra leader Don Ellis, to the stage of the Moods jazz club with the Zurich Jazz Orchestra, regularly leaving an enthusiastic and amazed audience in his wake. Was that always fun! The Vienna-Zurich axis harmonized. And pretty soon, there was a desire for new and different repertoire.

Under the blatantly trivializing title “Neat Little Songs”, Gansch is now putting some heavy stuff on the desks of the Zurich musicians. Wind music at its finest with the devious charm of an exceptional talent. Make it extra spicy. And the spices come exclusively from the Gansch house. Genre studies from the Alpine region to New Orleans and back again, where he always takes a wrong turn at the last moment, thus turning his nose up at the platitude or cliché. Suddenly the harmony clouds over, or the beat stumbles unexpectedly. These are the things that also distinguish him in all his other projects. And of course, Thomas Gansch could have made this production with any old big band. There is no doubt that he would have had no shortage of offers.

The fact that he has chosen the Zurich Jazz Orchestra is a testament to the good relationship that has been nurtured over many years. And then there are the soloists with whom he seems to get along very well. More than a few pieces feature two soloists (one of whom is always Gansch himself), dancing with each other, as it were. The first piece, “Hot Feet”, is a prime example of this. The hot feet sometimes dance in lockstep and sometimes in peaceful competition. It’s great fun to hear Reto Anneler on alto saxophone and Thomas Gansch exchanging ideas. Just like Nils Fischer on baritone saxophone and Thomas Gansch, later in “Ophelia”. The list of examples goes on and on. And then it’s not always just the classic distribution of roles between orchestra and soloist, where the band is only providing the background. Gansch also lets the orchestra shine as a sound apparatus in sections. And that’s where the orchestra’s conductor Ed Partyka comes into play. Gansch already played with Ed in the Vienna Art Orchestra. Partyka is responsible for the arrangements here, and as a long-standing orchestra conductor, he knows exactly how the band sounds and where its strengths lie. Thomas Gansch, Ed Partyka, and the Zurich Jazz Orchestra perform as a team and impress in the orchestra’s anniversary production. Here’s to another thirty years!
Hopefully on the Vienna-Zurich axis, too.

Peter Bürli, jazz producer for Radio SRF 2 Kultur until 2022, in March 2025