info@businessghana.com
He switched mallets depending on the sort of sound he needed to draw out of his vibraphone and in all cases, Thomas Dobler effectively nailed down his style that incorporates Western classical, Jazz and African musical elements.
Appearing with the GHJazz Collective on Saturday, October 12 at the +233 Jazz Bar & Grill in Accra, the Swiss composer, arranger, bandleader and teacher admitted his Ghanaian colleagues play his music a lot better than his European associates and that was why he was keen on doing that concert.
The GHJazz Collective on the night was made up of Bernard Ayisa ( saxophone), Nicholas Mettle (keyboard), Frank Kissi (drums) and Gaddiel Amoah (bass). They were very much up to the job.
Dobler’s repertoire included ballads and fast pieces, generally material that offered ample rhythmic and harmonic contrasts. They were all his
compositions except a track called ‘The Mountain’ by Abdulah Ibrahim (formerly known as Dollar Brand) from South Africa.
Thomas Dobler (on vibraphone) and the GHJazz Collective on stage
From pieces like ‘Duke Flower’ inspired by American Jazz maestro Duke Ellington and ‘Lassie Chio Pianga’ motivated by German-born English composer of the 18th Century, George Frideric Handel, all the musicians had space to exhibit their capabilities as they soloed or played in unison.
Drummer Frank Kissi drew applause with his captivating grooves on ‘Oxford Street’, a piece composed by Dobler after encountering the well-known street at Osu in Accra. He described the location as ‘exciting but also relaxed’ and tried to express that observation through music.
Thomas Dobler and Bernard saxophonist Bernard Ayisa
Describing the GHJazz Collective as a wonderful band, Dobler indicated they are part of the reason why he wishes music in Ghana, especially Jazz, develops more because there are so many talented musicians who need to play and need to find an audience.
The Swiss musician has been involved with Ghanaian musicians since he started working with the Ayekoo Drummers in Switzerland about 15 years ago. That cooperation has continually heightened his curiosity about Ghanaian music.
“Every Ghanaian musician that I know, I ask him questions. I try to learn about everything I can about Ghanaian music. By that way, we are able to share our passion and improve on our knowledge about music,” says the vibraphonist who is an Artistic Director at the Haute École de Musique (HEMU), a leading music education institution in Switzerland.
He is in Accra for the second edition of the training, workshop and performance sessions of the Accra Jazz Academy which he initiated earlier this year in collaboration with the Ghana Jazz Foundation.
“Ghanaian music must be promoted worldwide,” Dobler pointed out. “It deserves to be better known everywhere.”
