Hans Sturm is a beast on the bass...
Paul Abella, Chicago Jazz Magazine
Niccolo Paganini's Moses Fantasy Variation on One String gave the listener
more insight into the capabilities of the double bass. Originally written for the
violin, the Moses Fantasy is written in a virtuosic style that has become
Paganini's trademark. Just the mere thought of playing Paganini's
mesmerizing lines would dispel most performers from attempting it. To try to
play them on the double bass seems almost impossible. However, Sturm was
amazing in his facility to negotiate the work's difficult passages, all the while
allowing different tonal sounds to emanate from the instrument. In Sturm's
hands, the double bass is an instrument with endless possibilities.
Jeffery Pappas, Telegraph Herald
His piece for Joelle Leandre was so gorgeous the capacity audience was visibly
stirred.
International Society of Bassists Convention Review, Bass World Journal
Ball State faculty member Hans Sturm was featured on the next work,
Koussevitsky's Concerto for Double Bass, Op. 3. The piece called for a great
deal of upper-register notes on the bass, which can be a physical burden due
to the sheer size of the instrument. Sturm deftly overcame these obstacles,
enriching each melody of the solo with a musical sense of vibrato and careful
attention to the dynamic requirements of the piece.
Ian Palmer, The Daily News
Sturm: Champion of the cutting edge. (Headline, Arts Guide)
Dean Robbins, The Isthmus
Ball State is fortunate to have Sturm. His incredible talent defines jazz bass.
He must be considered one of the best players anywhere today.
Brad Meyerdierks, The Star Press
Sturm's phenomenal agility on the large double bass captivated the audience
and fellow performers alike. Perhaps the best display of Sturm's talent was
during the ballad Angel Eyes. Using the bow, Sturm deftly played the part
traditionally written for the more nimble trumpet.
Brain Ross, The Daily News
The bass work of Mr. Sturm was as nimble as we have come to expect from
this man. Hans knows his way around outwardly dissonant styles of jazz,
blues, and classical theory and mixes them casually into a brew of
breathtaking depth.
Arthur Durkee, Milwaukee Night Sights and Sounds Record Reviews
Sturm's brilliant and effective bass playing in Love Comes and Goes and
Round Midnight make for exhilarating listening (Landscapes, Red Mark
Records).
Robin Stowell, Double Bassist
Sturm is a master of the double bass. He makes it sound like a guitar, violin, a
horn as he plucks, slides, and bows. He does more than accompany Allen, he
is her equal partner (Landscapes, Red Mark Records).
Dave Nathan, The Jazz News
Another highlight is the soulful solo by Hans Sturm on Where Do You Go? -
this must now rank with the Frank Sinatra and Stan Getz interpretations of this
memorable Wilder-Sundgaard song (Blackberry Winter, Mark Records).
Ron Prather, Alec Wilder Review
A mapping onto music of sunset and night sky, this neo-classical work
combines elements of world music, modern jazz, and more with an avant-
garde approach and stunning improvisation. The scintillating eight-
movement opus offers the unexpected meeting of the Japanese koto and
double bass, exotic African percussion and operatic vocals (Fireflight, Innova
Records).
Tom Schulte, All Music Guide
Sturm plays throughout with admirable technical facility and aplomb
(Fireflight, Innova Records).
Robin Stowell, Double Bassist
At one moment it sounds like ancient tribal ritual music, and the next, it
evokes scenes of natural phenomena - awe inspiring landscapes. This trio
paints pictures with sound that challenge the mind and imagination of the
listener (Bird of Prey, Bassic).
Todd Coolman, Bass World Journal
Throughout the album Sturm's playing - especially with the bow - is
expressive, delicate and darkly resonate (Bird of Prey, Bassics).
Kevin Lynch, The Capitol Times
Overall Winner 1990 Cadence Magazine Editor's Choice New Release Award
for Carl Michel, Food of Love
Wildman's trio contributes an odd-timed, Steve Colemanesque funk tune that
is ultimately notable for the leader's muscular, ostinato-based, gospel-
tinged outward-bound solo, and as a showcase for Hans Sturm's considerable
improvisational skills (Gathering, Madison Music Collective).
Chris Kelsey, Cadence Magazine
The peripatetic Sturm needs far less introduction to Madison listeners. His
daring and puckish playing with Joan Wildman, for example, shows how well
he matches up with guitarist Grassel. The 'Adventures' are all originals, with
richly crafted musical dialogue and atmosphere (The Adventures of Jack and
Hans, Bassics.
Kevin Lynch, The Capitol Times
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