Chris Kase | My Private Circus

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Jazz: Jazz Fusion Electronic: Chill out Moods: Solo Instrumental
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My Private Circus

by Chris Kase

Kase plays many roles here - that of trumpeter, bassist, keyboardist and sound engineer among others - in a highly personal disc that leads him into stylistic terrain that hasn't been possible for him to explore in a recording until now.
Genre: Jazz: Jazz Fusion
Release Date: 

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  Song Share Time Download
1. Badness
6:04 album only
2. The Dark Passenger
4:45 album only
3. Prelude to an Introduction
5:30 album only
4. Schizoid
3:49 album only
5. A Taste of Money
5:17 album only
6. Dangerous Interlude
2:53 album only
7. Radiant Happiness
5:30 album only
8. Obscurity Knocks
5:06 album only
9. Should've...
6:49 album only
10. Industrial Pastry
3:50 album only
11. My Private Circus
6:35 album only


Album Notes
Errabal has released the latest recording of Chris Kase, his seventh as a leader, entitled My Private Circus. An album both personal and unusual in the output of this American musician who has lived in Spain for over fifteen years, more than enough time to make known his original voice on the trumpet and flugelhorn, as well as his abilities as composer and producer. Kase plays more roles here - that of bassist, keyboardist and sound engineer among others - in a regal production that leads him into stylistic terrain that until now haven't been possible for him to explore in a recording. To hear him in a musical ambiance apart from the typical acoustic jazz format is surprising. He explains that "for years I've had a surplus of compositions and musical ideas, some of which for their content or use of electronic instruments didn't fit in the typical quartet or quintet situation. It was time to find out where this music would take me. I worked on this project for three years, alternating with another more conventional project for sextet. It was at times arduous but very educational, and I'm very happy with the result."

If the music is not what we would expect from a jazzman accustomed to groups with more traditional instrumentation and repertoire, its creation is even more interesting. The process was "very spontaneous. Composing, playing and recording became one thing. I did everything at the same time, I didn't write anything down, there was no written music for these pieces. At most, I had some Post-Its papering the wall of the studio with some chord sequences written on them, nothing more. If you change the work habits, the final result also changes. Towards the end there, things were so chaotic that it was a circus with just one audience member: me. And now, let it see the light of day."



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