the only bass saxophone quartet in the universe

Reviews

Stereoplay, april 2012
"Musical gems by four low-pitched sound-artists with a sense of humour."

Paris DJs (F), march 2012
"This is our discovery of the month, we never heard anything like this before, something between classical jazz, mainstream pop and heavy brass earthquakes!"
Link to Paris DJs

Bassic-sax (Canadian sax blog), feb. 2012
"With Deep Schrott Plays Dylan & Eisler, 4 incredibly talented musicians make their bass saxophones sing the songs of peace and social change. Bass saxophones can sing, and Deep Schrott makes it appear as if they can do it effortlessly. Their arrangements are a blending of harmonies so pleasing, that you forget you are listening to bass saxophones, which for many years were forgotten or neglected. The question that has to be asked, is: Why? Sure bass saxophones are large, and somewhat cumbersome, but bands regularly pack much bigger and more cumbersome gear. In the overall scheme of things, bass saxophones are not that awkward, yet they add a level of depth and breadth to the music, not matched by any other instrument. If you play bass saxophone—or even if you just like the sound of the bass—then Deep Schrott is a group you absolutely have to have in your CD collection."
Helen Kahlke
Read the entire review at www.bassic-sax.ca

JazzThing/DE, feb. 2012
"Music for wind at its best."

P-Magazin/DE, feb. 2012
"Refreshing and skilful."

"The Elegance of Ship Sirens" - HNA Kassel/DE, feb. 2012
"What an ambience, what a sound! Deep Schrott transformed the sold out gallery into a sonic art room. Never ending applause and several encores." Hartmut Schmidt

The Wine-Jazz Nexus, april 2011
"The members of Deep Schrott and the other musicians presented at ContraBassSaxophone.org clearly are entirely serious about the bass sax. For them, it's an important tool for making music, not a novelty instrument. For me, the essence of this sax’s sound is like the end of a cup of Turkish coffee—thick, rich, muddy, desirable in small sips." Ed Peaco

The Observer (GB), 19. Dez. 2010
Hidden gems of 2010: the pop, world and jazz CDs you may have missed:
Deep Schrott, One
Weirdly endearing: four bass saxophones crunch their way through tunes by, among others, Led Zeppelin, King Crimson and Kylie Minogue. Never has this monster instrument been put through its paces with quite such determination. (In German, "Schrott" means "scrap metal".) DG
The Observer: Hidden Gems of 2010

Jazzenzo.nl, dec. 2010
Vier bassaxofoons op hun standaard op een verder leeg podium: het was een prachtig gezicht voordat deze vier mastodonten in werking traden. Maar toen de bespelers aantraden, verenigd onder de naam Deep Schrott, werd de sensatie nog groter. Met repertoire dat zich uitstrekte van Fleetwood Mac, Led Zeppelin, King Crimson en Slipknot en daar tussendoor eigen stukken, brachten de vier Duitsers een ode aan het oudste instrument van de saxofoonfamilie. En dat speelde zich niet veelal – zoals voor de hand ligt – af in de diepe regionen van de instrumenten, maar over het hele bereik. In ‘Left Behind’ van Slipknot gingen de bassaxen zo hoog, dat het geluid dwars door je hoofd sneed. Om daarna uiteraard de muzikale diepzee weer in te duiken. De bassaxofoons hebben bij Deep Schrott zowel een melodische als percussieve functie, terwijl krijsende solo´s uit elk dak gingen. Kenmerkend was dat elke compositie een verrassend slot meekreeg van de Duitsers.

Convozine.com, oct. 5th, 2010
Introducing Deep Schrott, who advertise themselves as the only bass saxophone quartet in the universe — a niche I don't see becoming crowded anytime soon. Comprised of players from Germany and the Netherlands, the foursome bring sub-basement virtuosity to the Led Zepelin classic "Stairway to Heaven". Basso profundo props not only for original instrumentation, but for an intricate trio sonata arrangement spanning jazz and baroque styles.
Convozine.com

Jazzthing, june 2010
"... when composition and improvisation entangle, when they spoof the clumsiness of the bass sax, when sax keys hammer rhythms and overblown sounds squeak, when they take their solos with and on top of the deep sounds with wild wit and playfulness... A vociferous and slick-fingered, four-headed monster... Roooaaar..."

Radio Dreyeckland Freiburg, apr. 11th, 2010
"A truly impressive album."

Neue Westfälische, nov. 20th, 2009
"Die Welt ist nicht genug..."
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Bonner General-Anzeiger, nov. 16th, 2009
"Man stelle sich einen frisch polierten Cadillac aus den frühen sechziger Jahren des 20. Jahrhunderts vor..."
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Saarbrücker Zeitung, oct. 20th, 2008
"Wer das ultrafette Dröhnen von "Deep Schrott" nicht erleben durfte, hat was verpasst. Das frisch formierte "erste Bass-Saxofon-Quartett der Welt" stellte sich gut "eingeblasen" vor. (...) Jeder der (Bass-)Saxofonisten steuerte Selbstgeschreddertes "Auf dem Schrottplatz" bei, ferner gab's Bearbeitungen von Rock-Klassikern: Bei einer Parodie von Led Zeppelins "Stairway to heaven" war das Augenzwinkern kräftig; Kaisers Bearbeitung von "Helter Skelter" (1968) der Beatles hingegen brachte die heftigen Vibrationen dieses Heavy Metal der ersten Stunde glaubhaft rüber."