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Kim

Musiker Kim Barth

Kim Barth

Drawing on a wide range of music traditions and influences including Jazz and Bebop, Classical Music, South American folklore, Flamenco and Afro-Cuban music, Danish saxophonist and flutist Kim Barth creates compositions and arrangements which are praised as “Clever music of high level of quality (...) and incredible richness”.

Kim Barth's preference for fusion music and international formations finds its roots in years dedicated to the “study” of different musical genres, in different countries. Having graduated from the University of Performing Arts of Mannheim (Germany) and the Long Island University (New York) in Jazz Performing, Composition and Arrangement, Kim Barth consecutively worked in the USA, Spain, Brazil and Cuba before he moved back to Germany where he is currently based.

“Being a musician”, as Kim Barth puts it, “is taking risks through travelling, living, playing and exchanging with other musicians in and from different countries. .” “To understand how things work”, Kim Barth adds, “you must open up your horizon and grasp the soul of music in bars and jazz cellars (...) expose [your]self to different ways of playing and arranging (...) regardless of the level you think you have reached.” — a mindset that largely explains the innovative aspect which is noticeable in Kim Barth's music.

Kim Barth's talent was already manifest through his first international project Morello And Barth Present The Bossa Nova Legends (2001-2006). Featuring those who made the legend in Copacabana in the Sixties — including Latin grammy winner Leny Andrade, Pery Ribeiro, Johnny Alf and Alaíde Costa — Kim Barth and his German fellow guitarist brought jazzy versions of Bossa Nova evergreens. The originality of their music literally catapulted them onto the international Latin Jazz scene while the project reached its climax through a three-year tour (2003-2006) throughout Europe and South America. The Bossa Nova Legends project was present at major jazz festivals and prestigious venues including the Queen Elisabeth Hall in London, the Teatro Rival in Rio de Janeiro and the Verona Jazz Festival in Italy...
Time has gone by since then, but the album which bears the same name as the project has stood the test of time.

Kim Barth is not only an accomplished Jazz arranger, composer and musical director. He is also a talented and mature reed player. Equally fluent on the saxophone and the flute, he plays with much intensity and depth and has managed to create a sound which is recognizable by his audience as particular to him.

Kim Barth is also a much sought after soloist. Featured in symphonic and chamber music, Kim Barth has played classical pieces and concertos by Igor Stravinsky, Sergey Rachmaninov, Claude Debussy, Maurice Ravel. He has also participated in orchestral works, dance performances and musicals written by Leonard Bernstein and Kurt Weil.

Kim Barth has significantly contributed to make Choro, Brazil's virtuoso instrumental music, known to German public through his project named Rio 1910 which brings together musicians to play Choro as it is usually performed in Brazil: in bars, seated around a table, among the audience.

Kim Barth is a proud member of international Ensemble Banda do Patio, a pool of artists including British composer Peter Lawrence, Chilean percussionist Claudio Estay, Californian trombone virtuoso Christy Belicki and concert pianist and composer Oriol Cruxiente from Barcelona. Performing their own compositions and arrangements together with prestigious symphony orchestras throughout Europe, Ensemble Banda do Patio enthralls their audience through their innovative and creative way of incorprating Jazz improvisation and Latino-Caribbean rhythms into contemporary symphonic music.

Last but not least, Late Night Coffee, Kim Barth's recent transatlantic project with New York trumpeter, composer and arranger Michael Philip Mossman particularly demonstrates ceaseless possibility of innovation. It consists of a series of original pieces and suites that Kim Barth and Michael P. Mossman tailored on musicians coming from the wide span of Jazz and Latin music and whom they had invited to be part of their formation. The arrangements are written in such a way that each musician can give free rein to their creativity and add their personal touch. The diversity obtained, needless to say, lends unique quality to the whole project.

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