01 - Cuban Sugar
02 - Mambozart
03 - El Cisne Triste
04 - Hochzeitsmarsch
05 - Cinco Salsa         play
06 - Cuban Danube
07 - Sueño De Amor
08 - Habanera En Habana
09 - Kubanischer Tanz
10 - Der Mond Ist Aufgegangen
11 - Kubanischer Marsch
12 – Salsaria
13 – Weddingbells
14 – Bata March         play

Personnel: 
Tobias Forster (piano); 
Killian Forster (bass); 
Tim Hahn (drums).

Additional personnel: 
Elis Rodriguez (vocals, conga); Alexis Herrera Esteves (vocals, timbales).

What a great idea to latinize or cubanize, classical, opera, and jazz standards. I had to buy all 4 because each had something to offer. The integration of latin with classical, for most (not all), was seamless. It sounds like the pieces were written to be played this way. The intros and exits were more the actual "tune" recognizable by classical lovers, while the middle had the super jazz improvizations. Slower pieces were slow rumba-bolereo, romantic sounds. Faster ones were chacha-mambos. The "Mozart meets" and "Classical meets" had more fitting integrations of the, really not so different styles. Most of the "Opera meets" were not as a good a fit - really quite a stretch in some cases. The "Jazz meets" of course went perfectly, since it was already jazz, just played with someone elses take on it. Being a lover of all 3 genres, it is a fantastic collection of music. It also gave me additional musical insites of the original classical pieces. Now I await their treatment of JS Bach in a new album they don't yet know they are going to make - hint hint. ---Stuart C. Brown

Mixing iconic classical themes with Latin rhythms could potentially be a recipe for disaster, but on CLASSIC MEETS CUBA, it's a winning combination. The story of how these disparate elements came together is a simple one. The Klazz Brothers, a German trio of classically trained musicians, meet two local percussionists during a tour stop in Havana. Undeterred by cultural differences, these remarkable musicians proceed to lend credence to the old adage of music being a universal language. They introduce Mozart's compositions to Tito Puente's rhythms and transform Symphony No. 40 into "Mambozart." Spicy beats turn Beethoven's Fifth Symphony into "Salsa No. V," while "Für Elise" becomes "Afrolise," and Schubert's "Trout" Quintet is elegantly made over as "Danzon De La Trucha." The vibrant, well-executed arrangements make it seem as if Bach, Haydn, Chopin, and Brahms were alumni of the Buena Vista Social Club, and the overall result is a disc that'll induce lots of smiles, toe-tapping, and maybe even a little hip-shaking.

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1 	La Cumparasita	5:07
2 	Libertango	7:08
3 	Adios Nonino	7:46
4 	Tres Lindas Cubanas	4:24
5 	El Choclo	6:24
6 	Ole Guapa	4:05
7 	Por Una Cabeza	5:01
8 	Verano Porteño	8:20
9 	Kriminal - Tango	3:48
10 	El Día Que Me Quieras	4:02

Accordion – Alexander Pankov
Bass, Vocals – Kilian Forster
Congas, Vocals – Elio Rodriguez Luis
Drums, Cajón – Tim Hahn
Piano, Vocals – Bruno Böhmer Camacho
Timbales, Bongos, Vocals – Alexis Herrera Estevez

Klazz Brothers & Cuba Percussion. Since their establishment in the year 1999, the Klazzbrothers have been exploring the borders between classic and jazz, linking tradition and the desire for novelty, as well as the correspondence of music of different cultures. The success of the Klazzbrothers with audiences and critics is undisputed, eliciting

"... initial amazement followed by tumultuous applause." (translated from the Rheingau Echo).

"... Parody, great music, comedy and superlative interpretation in one - GREAT !..." is the judgement of the Dresdner Neueste Nachrichten and the Süddeutsche Zeitung concludes: "... A cheerful show then, between jazz and classic ... but never without background. Hopefully there'll be more of it soon ...".

Concerts in the Semperoper Dresden, at the Rheingau Music Festival and a record contract with SONY CLASSICAL followed.

Latin, swing, salsa, son, jazz, classic- apparently irreconcilable? The Klazzbrothers navigate around the stylistic border zone - their home ground, with great ease. And yet their jazzy interpretations of classical pieces keep close to the original. Often it is only a matter of small shifts of rhythmic accent and - as if of its own accord - the theme of a sonata is transformed into a bold bossa nova rhythm. Or the original fundamental bass line is retained and expressive rich jazz chords are superimposed. Trademark of their music is however a confrontation of complex forms, structures and harmonies - a further development and creation of new, innovative sounds, preservation of the 'old' within the 'new'.

It is naturally to the credit of the Klazzbrothers that they write their own arrangements for their jazz-hungry interpretations and that they always like to include their own compositions in the programme. After all, complex structures are created in the course of their style of handling musical material, structures which require mastery in the casual, exalted, expressive style of jazz.

The music-making moment is always in the foreground. That is what brings the Klazzbrothers close to other musicians. In joint projects, for example with the Dresden Philharmonic Jazz Orchestra, founded by the Klazz Brother Kilian Forster, where the common features of jazz and classic are extended in symphonic complexity. Or with well-known soloists, such as the Klezmer clarinettist Giora Feidman, King of the Gypsy Violin, Roby Lakatos or the exceptional Czech musician, Iva Bitova. ---sonyclassical.de

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