"I am proud to present this solo recording for it is the result of a long period of development and experimentation. All compositions and improvisations contained on this CD use a personalised loop setup. I came to regard this looping device as an instrument in itself, for the variety of colours it offers, for its limitations, for the time I spend learning to play it and finally for the need to use it in live performances. " Klaus Gesing about his new release reaLTime. 

When you listen to other recordings of Gesing, for example of the long-standing trio collaboration with Norma Winstone and Glauco Venier, (Distances, Stories Yet to tell, Dance without answer, all published on the label ECM) or the two CDs recorded with Anouar Brahem (The astounding Eyes of Rita, Souvenance, both on ECM as well) but also his own recordings (e.g. First Booke of Songes, and Heartluggage, both ATS-Records) you will quickly realise that he is a through and through acoustically thinking improvising musician. 

 It was therefore very important to remain close to an acoustic concept that would include improvisations, when he decided to do this recording and publicly present his vision of live looping and live electronics on bass clarinet. 
 A great deal of research had to be done to find the technical bits and pieces necessary to transport his acoustic approach to the field of live looping, a way of making music that has mainly been reserved to singers, guitar players, bass players or keyboard players. 

 Two aspects present on this record further underline the closeness to Klaus Gesing's acoustic concept: 
Firstly, during live performances of reaLTime the listener will enjoy exactly the same textural richness and multi-facetted soundscapes, meaning in turn that there are absolutely no overdubs on this recording. Secondly: Improvisation (that is improvisation using live-looping in this context) remains an intrinsic part of the performance. There are 3 improvised tunes on this recording, Realtime I - III, subtitled "Morning, Noon and Night" which make extended use of the possibilities of his loop setup in a freely improvised context. Here Gesing uses live electronics in a maybe more evident way, exploring new and exciting soundscapes. The compositions show Gesing’s love for intricate rhythms, presented in an off-hand manner, 
in combination with beautiful melodic writing. 
 Quarter 2 Five and Three 2 Four are nice examples of his rhythmic side, they are complex layering of cross-rhythms creating a compelling rhythmic, sometimes trance-like carpet on which the music unfolds. 
Dorothy’s Dance marks an excursion into the realm of folk music, though the tune is an original composition written by Gesing in 11/8. 
 The Thrill is Gone is probably the most epic arrangement on this recording, starting out with an ambient atmosphere produced by several layers of bass clarinet which stages the melody on soprano saxophone followed by a multi layer mixed bass clarinet and soprano saxophone background for a emotional soprano solo on a chord progression reflecting the tune before briefly stating the final theme. A vast variety of captivating atmospheres to discover loop by loop. Enjoy!