“Mösching proves himself an excellent multi-instrumentalist[…] Ethereal Kinks is a unique reflection of Mösching’s complexity as both a performer and composer. “ Kyle Simpler, All About Jazz
“The more you listen the more Mösching’s energy, focus and brilliance emerge.” Michael Jackson, Contributor for Downbeat
“An unpretentious, poised player who writes pretty engaging originals” Jazzwise Magazine
“Samuel Mösching’s sound is so warm, his playing is so fluid and inventive” Jason Marck, WBEZ
“A Rather beautiful, at times mesmerizingly flirtatious album (Ethereal Kinks)” Anne Carlini, Exclusive Magazine
“Samuel Mösching clearly has a lot to say, along with a highly personal method of getting his message across.” Jack Walton, South Bend Tribune [Article]
“Ein riesiges Talent…” Pirmin Bossart, Luzerner Zeitung
All About Jazz Review about Ethereal Kinks (3/10/2022)
Interview with Joe Dimno for Neon Jazz (2/18/22)
Interview with Cheryl K for the Jazz Disturbance about my upcoming album Ethereal Kinks (Release: February 18th, 2022)
–Live Interview with Mike Jeffers for the Chicago Jazz Magazine (4/1/2020)
INTERVIEW WITH ALLABOUTJAZZ (4/3/2015)
Meet Samuel Mösching
Born in Thun, Switzerland in 1986. This well traveled 28 year old musician now resides in Chicago on an artist Visa. Drummer Jimmy Bennington recently brought Samuel to my attention. He may not be well known in America, but he is certainly someone who could stand out with his particular sound and style.
Q: How long have you played the guitar?
A: I have been playing for 18 years now.
Q: Who are your major influences?
A: J.S. Bach, Claude Debussy and Paul Hindemith are my strongest influences. In jazz I would say Wayne Shorter from his early years and Eric Dolphy. On guitar I am most influenced by my peers. Chicago guitarists Matt Gold and Bobby Broom to name two.
Q: Why jazz?
A: Jazz has a very indigenous element for me. Something in the way it’s performed is very natural, at least in the U.S. Although it is comparable to the high music forms of European classical in its complexity, it still is performed as a ritual and in a way of celebration. Jazz has kept a dancing approach. I think the connection between mind, spirit and body is still the essential part of good jazz.
Q: Where do you think jazz is headed?
A: That depends on how I define jazz. If I look at it as culture that peaked in the ’40s and ’50s, then it’s going to head slowly into where classical European music is now. Its purpose will be one of conserving it as a culture. For sure a culture that is worthy of conservation. Improvisation would still add an element of here and now. If I had to define jazz as contemporary art, it is a mirror of the present time. That means it will always change and is never going to stop developing. I think there will be some major geographical changes to the music. The young musicians want to play as much as possible to get better and learn new things, so they will go to where it is possible to survive and play. If they relocate, they will fuse with a new culture and create something modern. It has happened several times in jazz before and it will happen again. I think that more and more musicians will learn how to truly improvise and get away from the common licks. A lot of the great players from the past were already telling stories in their own language. I think the focus will get back to that. I also think musicians will become more aware of the spiritual side of music and will focus on how to combine both that will define their own music.