Prof. Tizian Jost

permanent visiting professor

Tizian Jost

»I wanted to play jazz for as long as I can remember. And Brazilian music,« the Munich-based jazz pianist Tizian Jost explains. Jost (*1966 in Kassel) got off to an early start: at the age of 16 he founded his first sextet, at 19 he became a house pianist in the legendary »Allotria« and by the time he was 20 he was the youngest band member of the Harald Rüschenbaum Big Band. In his teenage years he played with stars such as Mark Murphy, Dusko Goykovich, Tony Lakatos and Bobby Shew.

He achieved his first international successes alongside saxophonist and painter Günther Klatt. A Duke Ellington ballad program, highly praised to this day, took the two artists on tours throughout Europe and, on behalf of the Goethe-Institut, through South and Central America as well as to the Indian subcontinent. Countless bands – from the Wine & Roses Swing Orchestra to Till Brönner – have benefited from Josts incomparable sound, his rhythmic and harmonious ingenuity and his downright encyclopedic stylistic diversity.

Jost is currently a member of the Stephan Holstein Trio, which recently caused a great stirr with the jazz arrangements of classic literature and plays with the award-winning Till Martin Quartet, with whom he has recorded three CDs. In his own trio, with bass player Thomas Stabenow and drummer Bastian Jütte, he is currently dazzling audiences with an Antonio Carlos Jobim project.

Alongside jazz, Jost’s other love is Brazilian music. In 1990 he founded the band Domundo with singer Lygia Campos, which achieved international success until 2002. Jost temporarily lived in Rio, collaborating with many Brazilian stars, most recently with Leny Andrade and Viviane de Farias. He also provided the authentic Latin sound on the piano with Sophie Wegener’s quintet Zona Sul, which released the albums »Beira« and »Pure Love«, setting new musical standards in Germany. »When I teach, I place an emphasis on conveying the tradition of jazz, which can be understood as a continuous evolution of both music and the individual musician. On the basis of didactics stemming from decades of experience, I help the students discover and develop their own musical language. As an additional musical genre, I include lessons in the styles of authentic Brazilian music, which I have a longstanding and intense musical relationship with.«