Kruger Brothers Offer Optimal Quality Listening Choices with New High Definition Online Audio Store Imagine sitting in the studio surrounded by the Kruger Brothers playing your favorite song. That’s what high-definition recording sounds like. That was the motivation for making high-definition recordings of the Kruger Brothers. Lead singer, guitarist and audiophile Uwe Kruger puts it this […]
Workshop für Banjo & Gitarre mit den Krüger Brothers
!kommentiertes Konzert am Abend!
Liebe Banjo & Gitarren Freunde,
Am 21. März 2015 habt Ihr wieder die Möglichkeit einen Tag lang mit den bekannten, beliebten und super virtuosen Krüger-Brothers (USA/CH) zu verbringen.
Lasst Euch diese Gelegenheit nicht entgehen!!!
Der Workshop eignet sich sowohl für Anfänger wie auch Fortgeschrittene Musiker sowie für Fans die einfach mithören wollen!
Ob Musiker oder Fan – man sollte sich diese Gelegenheit nicht entgehen lassen!!!
Auch dieses Jahr gibt es im Zuge des Workshops ein kommentiertes Konzert das heisst, Ihr könnt Fragen stellen zwischen den Songs
10.00 Uhr bis 16.00 Uhr
Workshop Gitarre mit Uwe Krüger
Workshop Banjo mit Jens Krüger
Workshop Bass mit Joel Landsberg
auf Anfrage (ab 4 Teilnehmer)
(Unterricht in einzelnen Gruppen)
Mittagspause von: 12h bis ca.13.30h
(Im Hotel-Restaurant kann man sich auf eigene Rechnung verpflegen – es gibt auch Übernachtungs-Möglichkeiten im Hotel)
Kommentiertes Konzert 18.00 Uhr
(ACHTUNG : Plätze sind knapp – Workshop Teilnehmer haben Vorrang !)
(Der Workshop und Konzert können einzeln oder als Kombo gebucht werden!)
Bestimmt dürfen wir wieder ein super Tag erleben mit vielen interessanten
Themen und guten Tipps & Tricks rund um die Musik!
!!! Bitte weitersagen !!!
DETAILS & ANMELDUNG
Wann: Samstag 21. März 2015
Workshop mit den Krüger-Brothers von 10.00Uhr – ca. 16.00Uhr / Konzert 18.00Uhr
(! Konzert-Plätze sind knapp – Workshop Teilnehmer haben Vorrang !)
Wo: Hotel-Restaurant Hasenstrick – Höhenstrasse 15, 8635 Hasenstrick / ZH
(im Zürcher Oberland am Fusse des Bachtels – Nähe Hinwil ZH)
Krüger-Brothers Workshop CHF 140.- (Kombo mit Konzert) – nur Konzert CHF 40.-
Anmeldung: mit der Einzahlung ist ein Platz für Dich reserviert! Plätze beschränkt!!!
Einzahlung für: Raiffeisenbank Zürcher Oberland, 8610 Uster – (Vermerk: Workshop)
Zugunsten von: CH07 8147 1000 0043 1718 1 Konto: 80-18578-0
Musig-Hüsli, Frohwiesstrasse 25, 8330 Pfäffikon ZH,
Weitere Informationen bei: Hansj Looser- Tel: 079 359 24 03 – mail: firstname.lastname@example.org
PS: Falls dieses email bei jemandem fälschlicherweise angekommen ist bitte ich um Entschuldigung !
Workshop for Banjo, Guitar and Bass with the Kruger Brothers and a “commented” concert in the evening.
Dear Banjo, Guitar, and Bass friends,
On March 21, 2015 you’ve got the opportunity once again to spend a day with the well-known, virtuosos the Kruger Brothers.
Don’t miss this opportunity!
The workshop is engineered for beginners, advanced musicians, and for fans who just want to come and listen!
Whether you are a musician or a fan you should not allow this opportunity to pass you by!
Once again this year in the spirit of the workshop atmosphere the Kruger Brothers will be presenting a commented concert which means you will be able to ask questions between the songs.
- Banjo Workshop with Jens Kruger
- Guitar Workshop with Uwe Kruger
- Bass Workshop with Joel Landsberg
(By request a minimum of four students for the bass workshop.)
The lessons are given in groups sorted by instrument.
Saturday, March 21, 2015
- Workshop with the Kruger Brothers from 10:00 am – 4:00 pm approx.
- Lunch Break from 12:00 to 1:30
- Concert beginning at 6:00 PM.
Space is limited and workshop participants have ticket priority!
Workshops and concert may be purchased in combination or separately.
Kruger Brothers Workshop CHF 140.- (combo with concert) – only concert CHF 40.
In the hotel/restaurant you may purchase meals on your own and you have option to stay overnight at the hotel.
We certainly look forward to another super day discussing great tips and tricks revolving around the music.
Let everyone know.
For further information contact Hansj Looser Tel: 079 359 24 03 – mail: email@example.com
We have some exciting news! We are going to expand our annual spring Music Academy to include all four members of the Kontras Quartet, the string quartet who commissioned our newest composition, Lucid Dreamer, and the quartet with whom we have played Appalachian Concerto at many venues. And we’re going to change the location (See below). The event dates are the evening of Thursday, April 30, through midday Sunday, May 3.
While we enjoy performing at venues across the country and in Europe (and more recently Australia) the Academy is the highlight of our musical year, and we are really looking forward to our 2015 Academy because expanding the event and changing the location will allow us to:
- Offer individual instrument classes in guitar, banjo, bass (upright and bass guitar), violin, viola, and cello.
- Offer for the first time a lecture about singing.
- Add an additional day to include four days and three nights.
- Move the event to the Wilkesboro Holiday Inn Express
You might say we’ve outgrown the studio. Holding the event at a nearby, newly renovated hotel. This allows participants the opportunity for longer jam sessions and interaction among participants, with The Kruger Brothers and with the Kontras. Short and simple; it just gives everyone more time.
Attending our 2015 Music Academy offers:
- An opportunity for classical and folk musicians to meet in Wilkesboro, the heart of American folk music, and to participate in the merging of the musical world of both genres
- A unique, first-of-its-kind, musical workshop
- A discovery of the unity of the musical world through illuminating workshops, group discussions, jam sessions, targeted lectures and concerts
- An understanding of and appreciation for music on a deeper level
- A shared insight into the inner workings of the “emotional language” of music
- An opportunity for participants to perform at the Academy “Night of the Stars” on Saturday evening
- Three uplifting days filled with music and great food
- The opportunity to meet old friends and make new ones
- And we emphasize that, as always, the Academy is for participants at all musical levels, from beginners to advanced.
- Total package – includes three nights at the Holiday Inn Express – $985
- Full Academy attendance (no hotel) – $785
- Spouse and Observers – access to jam sessions, concerts, and meals but not classes – $485
NOTE: Space is limited. Full attendees and partners may book on-line immediately. Observers may book after January 15th.
- A highly skilled and professional string quartet based in Chicago
- Experienced performers and scholars
- Performed with and held residencies with several orchestras nationwide
- Performed and recorded with The Kruger Brothers including The Late Night Show with David Letterman
- Performed with The Kruger Brothers at the world premiere of Lucid Dreamer*
- Represent the music and cultural influences of four different countries
And just as important, all four members of the quartet are fun, intelligent, and personable. People you’ll be glad to know!
My name is Don Brown and I’m a friend and student of Uwe Kruger. I’d like to share a couple of simple truths I’ve discovered over the last few years with Uwe:
- “Don, what do you see when you play that song? Don’t memorize words, discover what you see and the song is yours.”
- “No one needs all 200 songs on a jukebox – just the three good ones!”
- “Make sure you really love a song before you learn it, you may be playing it for a very long time.”
- “When a song’s over, it’s over.”
- “Every note is equal, give each one its due.”
- “To play faster you have to minimize movement.”
- “You never know what you will evoke in a listener when you perform. Be careful, performing carries responsibility.”
- “Let’s put the ‘play’ back in playing music!”
- “Repeat a melodic pattern over and over and see where it takes you.” (This little truth led me to write and perform a song to my daughter on the day of her wedding.)
These are just a sampling of his simple truths that I can recall on a moment’s notice, and I know that each and every one of Uwe’s students walk away with the same. A writer by trade, I’m going to capture these simple truths.
I’ve written some 120,000-150,000 words that have been published. In my two books with McGraw-Hill I’ve used the convention of interviewing to much success, and also deployed research and text analytics as a foundation for what I wrote. Both approaches unearth what I call ‘simple truths’ – observations that are uncomplicated and indisputable, yet profound with impact. I will apply this same method – personal interviewing and text analytic research – to document and articulate Uwe’s journey in music and in life.
Uwe and I would like you to be a part of this process. I am asking just one simple question of each of you:
‘If you could tell me just one thing that you have learned from Uwe about music or life, what would that be?’
There are no limits on your answer. Use as many words as you like, and what that truth meant to you. If you have multiple ‘truths’, you can write them all – but identify just one first, then add more. To participate, just go to this survey link and ‘write on’:
That’s all. Simple. Powerful. Meaningful. We thank you for participating and look forward to hearing from you. Please feel free to contact me anytime you like with questions or observations. My email is firstname.lastname@example.org.
Jens Kruger, banjoist, composer and member of the musical group The Kruger Brothers, has received the 2014 International Bluegrass Music Association (IBMA) Award nomination for banjo performance.
Final nominees for the 2014 International Bluegrass Music Association (IBMA) Awards were announced today during a press conference held at The Factory in Franklin, TN hosted by Sam Bush and Jim Lauderdale.
Jens Kruger is known for his inventive, hard to categorize musical style of composition and performance, which can be described as thoughtful and lyrical. His virtuosic playing style ranges from the very complex, to the simple and profound. Jens Kruger and The Kruger Brothers have raised awareness about bluegrass music by writing and performing classical pieces that bridge folk and bluegrass music through the instrumentation of banjo, guitar and bass. The Kruger Brothers consist of Jens Kruger (banjo, harmony vocals), Uwe Kruger (guitar, lead and harmony vocals) and Joel Landsberg (bass, harmony vocals).
IBMA Award winners will be announced Thursday, October 2 at the Duke Energy Center in Raleigh, NC. Grammy award winners Lee Ann Womack and Jerry Douglas will serve as host of the Awards Show as part of IBMA’s World of Bluegrass. taking place September 30 – October 4 in Raleigh. The Kruger Brothers will also debut a new concerto titled “Lucid Dreamer” during this year’s World of Bluegrass.
For more information about Jens Kruger and the Kruger Brothers, please visit www.krugerbrothers.com, and join them on Facebook and Twitter (@krugerbrothers).
For more information including tickets for the IBMA World of Bluegrass, please visit www.ibma.org.
“I think the new chamber music piece is more complex, musically complex, than anything I’ve ever written. I don’t think it’s less accessible, but it has a lot more complex parts,” says Jens about the piece that took more than a year to write for The Kruger Brothers and the Kontras Quartet. The title of the new composition: Lucid Dreamer.
When he started to compose the piece Jens thought he could follow the same pattern that he had with his last two compositions because, “I established a pattern of finding musical themes that fit images that I would collect for my new piece. Because it has a title you try to find the theme for it. There are also these images that fit the theme, and I try to collect them like pictures that I put together. I think it’s like, one picture covers one atmosphere and another picture covers another atmosphere.
“Each picture becomes sort of a landscape, more details, and I find these musical themes that go in there, and once I have all the landscape mapped out with all the different features of melodies and little snippets of things, I have a feeling that I have enough material to fill a half hour piece. That’s how we did it for Spirit of the Rockies, Appalachian Concerto, and Music from the Spring.”
For those pieces Jens and Uwe wrote and orchestrated, “…from the first note all the way to the last, from the beginning to the end.” Not so with Lucid Dreamer because, as Jens puts it, “For some reason it wasn’t that predictable; it was more zigzagging around with things, orchestrating this part then that part, then fitting them all together.”
One reason for this departure from his normal composition pattern had something to do with the new composition sounding so different than anything Jens had ever composed. Even though he was near to completing the piece when I spoke with him in mid-May, he expressed the need, “…to go back and change things because I want it to fit the later part, so it’s not been just straight forward like the last work. It’s been a different experience, but it feels like this is the right way of doing this cHaber mucks piece, because the theme is a different one. In the Appalachian Concerto, it was about moving from one place to another and relocating, the key word being the locating part. But now I’m located here and looking from here into my new environment.
“When I look at my life as a musician, Uwe, Joel and mine, we are traveling musicians. We go into the world – we just went from Australia to Alaska to Europe – through all these different places, and when we travel we see the world, a lot of times from above, from the plane. We travel to see all the different people and societies – their social behaviors and how people interact.
“Seeing that and playing with the Kontras, with Ai (viola) from Japan, Francois (second violin) from South Africa, Dmitri (first violin) from Russia and Jean (cello) being mid-western. This atmosphere that we have together, with Joel being Jewish from New York, Uwe and myself from Germany, my wife from Switzerland, Uwe’s wife from North Carolina – all melts together, and we feel as musicians like we are free floating – floating around, as we always say, like ghosts – rattling our chains and haunting people in one city, then on to the next.
“When we travel we meet people, but there is never enough time to actually bond with them. Sometimes there is eye contact that you will not forget for a long time, wondering if you could connect with them, but not really having the time to have deeper conversations. So, for us this is a really interesting way of living because we meet so many people and don’t meet them, if you know what I mean, and so it’s not like we are located at one point – it’s like we are visiting these people; it’s like we are haunting these people, then we go flying around, and that’s the theme of this piece.
“The name of the chamber music piece is Lucid Dreamer which means that you are able to control your dream while you’re dreaming. I would like to extend this idea to the fact that I look at this life like a dream, and if I conduct my life I become a lucid dreamer of life. So I like that idea, and that’s how I really see Uwe, Joel and me – like lucid dreamers – looking at life as a dream – not the dream only as a dream but the entirety of our existence so to speak. And so that’s what this music is reflecting – that’s why a lot of the music is very complex and dreamlike and flying like the motion of traveling, not being grounded on one spot.
“So the music moves constantly, constantly on the move, and it changes its shape and color and goes all kinds of places, interesting places, but doesn’t remain there too long. All these changes make it really complex, and I’m really excited about it. This also explains the zigzag units of the composition process itself.
“There is a part that sounds a lot like I imagine where Ai comes from, and there is a part where I imagine where Francois comes from. I included a lot of these cultures, but most of them are hidden and not as you might typically hear them. But they’re in there; they’re definitely in there. And we have one part that sounds like how my father would sing it. When I wrote the part, it really struck me because it sounded like my father was singing it to me. This is exactly how my father would approach it and sing it. It never occurred to me that it would be that strong coming out someday, somewhere.
“Uwe hasn’t heard the orchestration yet, but he has been exposed to all of the themes for quite sometime, listening to me on the road and before concerts, in the dressing room or backstage, rehearsing, developing, and practicing my themes. He pretty much is aware of what is coming at him, but he hasn’t heard the orchestration yet, and for me it’s exciting because I can’t wait to show him what’s going on. And Joel, who knows his instrument and register so well, is very active in taking responsibility for his bass part. I write out the notes for Joel so the bass part is written in sheet music. But we all sit together and we change notes, and Joel will do double octaves and all kinds of things that he thinks as a bass player would work. He usually doesn’t change the written notes, but he may change the approach or the octave of the note.
“In the middle there is an orchestration where I tried to emphasize different emotional intentions. That’s where Uwe shines. Uwe is probably the highest musical person that I have ever come across; I have never met anybody who has a higher musical level – not just on the execution but the understanding. Uwe has the sense of how to put the structure together for himself as a guitarist, and this is a very time-consuming process. We sit down and then Uwe has to compose the entire piece for himself over again.
“Once the bass and the banjo interact, Uwe can put his orchestration in, and then he has to really think about all the movements and the economy of fingers and of what he would like to hear, what voicing he would like to hear – from the guitar – what sounds go in between the banjo and guitar. And he is a master of that.
“It’s not just chords; Uwe is never strumming. He plays arpeggios in broken-down chords and it becomes very interesting. He listens to the banjo, listens to the bass notes, and he makes the glue in between. I’m always astounded at how amazing Uwe puts his guitar part together, because if you just listen to the bass and the banjo, the music becomes very structured – its beautiful and it’s very correct.
“Uwe brings a glue and magic in there – another dimension. It’s really a different dimension. As soon as Uwe plays along with the guitar and has his part figured out, the music becomes really three-dimensional. That process takes a long time. In the beginning, Uwe is concerned, thinking, ‘This is a lot of chords – this is a lot to learn.’ This is an amazingly vast field, because he cannot hold himself on the melody. He has to go from one color to the next.
MANY DAYS OF TIGHT REHEARSALS
“We plan many, many days of sitting in tight rehearsals. The longest rehearsals are actually with Uwe trying to get his own voicings, and that will glue us together as a trio. That process makes us realize what we want to do. I can instantly give Joel a printout, and I play the banjo and it sounds okay, but the process that we go through with Uwe is the process that makes the piece a Kruger Brothers’ piece.
“And based on that, then the orchestration that I’m writing will work. I know that, because Uwe will listen to the orchestration then he will understand what he needs to do. This is something that I’m looking forward to.
“With the Kontras we’ll rehearse maybe five or six days to get ready for the premier, but they’re all playing every note from sheet music. We go on through the emotions, through all the fortes and pianos and the ritardandos together. I can write that all in, but writing it in is not enough; you have to play it together, to get a feel for it because we don’t have a conductor. We have to emotionally agree on that, so it will take about six days with them.”
Listening to Jens describe the long, re-focusing process involved in composing and rehearsing the piece, I just had to ask if he ever gets tired of hearing it:
“No, because every time Uwe plays I hear something new, because Uwe starts to add all these things that only my brother can add, and that makes it very special. So, I’m really looking forward to this process, and so is Uwe, because Uwe has watched me work on this so long, and he’s ready – ready to learn this new piece and climb this mountain…..which it is, because you have to invent new things. So this is exciting for all of us, it really is.
“We’re going to have the first rehearsal with the quartet in June. Now with Spirit of the Rockies we didn’t have to do any corrections; I didn’t go back to change a single note, well maybe I had to change two or three notes, but that’s nothing compared to the hundred thousand or two hundred thousand notes.
“With this piece I know that I will talk to Dmitri, who will have some ideas of how he would embrace this or do that, and then we’ll maybe change a little bit. Or in Ai’s solo, she may want to add or change a few notes. So, I’m sure that we will come up with a few little changes here and there.”
Being familiar with the Appalachian Concerto, I asked if this piece will also have three distinct movements:
“It’s very similar to the Appalachian Concerto. This new piece has basically four parts. It’s similar – the movement is less complex during the end of the piece. I think it has to be a little bit light.
“But it starts off with a slow movement, starts off really folk, in a sense, and rhythmic also, and then it goes into this more fiddleish-like atmosphere, and then goes into Baroque music –sort of classical – goes back and forth with these, and then there is a slower movement. I have a piece that sounds a little more Japanese, and then I have a piece where there is a really slow banjo number. And I have quite an upbeat piece for the ending.”
I have to confess that Jens has played parts of Lucid Dreamer for my wife Kathryn and me, and what we heard was captivating. It will be such a perfect complement to his other classical compositions. And I for one am a great fan of the Kontras Quartet, so it’s the best of both worlds for me.
This commission by the Kontras Quartet has been made possible by the Chamber Music America Classical Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund.
Our State, UNC-TV’s Emmy Award-winning series features the Kruger Brothers. Learn what sparked their interest in music, what it was like for them to grow up in Switzerland and how moving to North Carolina affected their career.
Spirit of the Rockies is a poetic, spiraling tale about ghosts, relationships and guides – both seen and unseen. It is a story about love, spiritual legacy, the sharing of beauty, and the yearning for freedom from the restrictions of the mind.
In 2011, The Kruger Brothers were commissioned to write a musical work for the Banff Centre in Alberta, Canada. Jens saw for the first time the Canadian Rockies he had heard so much about. Jens recalls, “I was instantly transformed by the breathtaking beauty of the mountains and lakes and immediately began imagining and creating music in my mind that could reflect such a landscape.” Jens and Uwe explored the history of the Banff area of the Canadian Rockies and the ancestral ghost stories of the native tribes that inhabited them. Jens and Uwe found a similarity and spiritual connection among the people in high mountains across the world having grown up listening to the folklore and ghost stories about the Swiss Alps. From this vision the theme for Spirit of the Rockies was born.
Jens wrote the piece for a small orchestral ensemble, to recreate a similar ensemble size that might have played at the Banff Springs hotel around the turn of the century. The brothers collaborated on the work, developing a storyline together, with Uwe and Jens writing the lyrics together, line-by-line. Jens would write the melody that supported each chapter. Finally, the orchestration was created, moving chapter by chapter in the process, resulting in a sixty-four minute orchestral work that includes ten songs and eleven instrumentals.
Jens believes that, “The precious value of beauty is always given from one heart to another.” That belief is what this work is about.
This recording is available for download here:
CD’s can be ordered at our official on-line store here: