Claus Boesser-Ferrari occupies an exceptional position amongst guitarists.

His CD “Ten" once again reveals an unorthodox musician whose dinstinct approach takes him away from guitarist orthodoxy. He possesses the ability to endow pop and jazz milestones from Jimi Hendrix to J. J. Cale with his own insistent, expressionistic style and to paint them in exciting new colors. Sometimes he does not even complete the themes but merely hints at them, leaving it up to the listeners to fit the pieces together themselves. His own compositions range from ballade-like waltzes to rousing, virtuoso Latin grooves. The impressive percussion interludes are not an end in themselves but cleverly embedded in the composition. Apart from baritone and resonator guitars, Boesser-Ferrari mainly plays his 12-string guitar. Once again he proves that he is one of the few guitarists which make innovative use of the instrument.

On his album BLUE FOOTPRINT, Claus Boesser-Ferrari provides a survey of his creativity on the guitar and as a composer. The title "Blue Footprint" represents the footprint of his recently-born daughter (whose foot was dipped in ink and immortalized on paper). How can the style represented by Claus Boesser-Ferrari be described? The renowned guitar critic Alexander Schmitz wrote about him in very general but entirely apt terms in the "Fachblatt" music magazine (12/94): "...A musical personality masters the events here in a manner which leaves no more wishes to be fulfilled - one of the loveliest homages to everything which makes up the guitar." What else is there to be said?

A new name has been added to the small group of guitarists who have successfully created their own musical signature on the 12-string guitar: Claus Boesser-Ferrari recorded the lion's share of his new CD on a 12-string or 10-string guitar!

In doing so, he has succeeded in approaching this instrument in a completely independent way and designing a unique tonal cosmos of scintillating overtone clouds on the one hand and archaic grooves on the other. He never uses his effects, like cascades of flageolets or percussive miniatures, in a superficially exhibitionist way but doses them sparingly in the service of the respective composition. Claus Boesser-Ferrari presents seven original compositions on his second solo album, as well as modified adaptations of some pieces from artists like Police, Bob Dylan, Madonna, The Beatles and Sting...

The result is a grand musical landscape with sensitive microcosms full of both romanticism and brutish, dissonant moments. And it sounds like life itself: beautiful and strange.