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Photo 1 (300 dpi) Photo 2 (300dpi) Photo 3 (300dpi) Photography: Lisa Klappe

Biography English (pdf)
Biografie Deutsch (pdf)

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About Ornithology:
"Geert Chatrou is the World Champion Whistling, and he produces one fabulous record after another. On the new double CD Ornithology he shows he can whistle really anything. With only his lips! (...) Okay, that sounds impressive, but did it turn out to be a musically interesting album? To that you can only honestly say: yes, it did!"
(Moors Magazine - Holy Moors)

"I think whistling interests people, everybody can whistle or at least tries to. After concerts I always experience people walking out of the concert hall... whistling".
(Groot Eindhoven, Traverse - Martin de Bruijne)

"After the contagious album Chatroubadour with Ocobar, now the double world champion whistling Geert Chatrou shows in 90 minutes his tremendous whistling abilities, in a wide range of music styles: from tango's by Piazzolla to lip-struggling works by Bach, Mozart and Debussy".
(Eindhovens Dagblad)

"The contemporary whistler is a musician. One that appears to plays the cheepest instrument in the world".
(De Twentse Courant Tubantia)

About Chatroubadour:
"The combination Ocobar and Chatrou works perfectly together. (...) Chatroubadour is a summery and sunny album (...) an album full of virtuosity". (Radio Netherlands Wordwide)

"On the album Chatroubadour Geert shows his capabilities! The result is a very sunny and cheerful album, which urges you to whistle along". (Het Parool - Erik Voermans)

"His spectacular jumps from one note to the other are breathtaking. When he spontaneously whistles a few notes, he immediately touches you. Like a top-violinist who opens his Stradivarius case to play you a few notes". (De Volkskrant - Koen Schouten)

"The most pleasant Dutch CD of the century". (Elsevier - Sjaak Roodenburg)

"It works contagious. But soon enough you'll experience that the spectacular jumps and bluesy bows only can be done by the world champion himself. In the meantime, you can't stop listening to this lively album". (Dagblad van het Noorden - Illand Pietersma)

"A very pleasant album, with the genuine nostalgia of whistling while you work". (PlatoMania - Ruud Verkerk)

"A delicious CD and a 'must have' for every music lover". (Moors Magazine - Holy Moors)

"And yes, there you go, the miracle happens; whistling appears to be a devine art and music the ultimate alive language". (The Magical Madhouse - Tura Gerards)

Laurent Tirard about the music for Le Petit Nicolas, composed by Klaus Badelt (Pirates of the Carribbean, Catwoman):
“...Klaus and I instantly got along. We both grew up with a fascination for American cinema, we both went over there to learn the ropes of our professions, and we both wanted to put this experience at the service of our own cultures. I believe this is what Klaus liked about the idea of writing the musical score for Little Nicholas, it was a return to his European roots, a style that would enable him express more personal things connected to his childhood. This was a far cry from a Hollywood film. For a project such as Little Nicholas, he knew that the music had to have a soul. There could be no question of anything syrupy or soppy.

Klaus joined the project very early on, but it took him a long time to write anything. Though he was enthusiastic, he was also very apprehensive – even anguished, you could say – about the project and the challenge it represented. We spent several weeks talking about Tati, about Django Reinhart, about Blake Edwards and Mancini, about Francois de Roubaix’s music, and about the tonality we wanted to give the film. And then one day, Klaus showed me the video of an artist he’d just discovered on YouTube, a Dutchman named Geert Chatrou who had a special talent: he could whistle any piece of music perfectly. Beyond the spectacular aspect of watching this virtuoso handling his natural instrument so flawlessly, it was the idea of the whistling that allowed Klaus and I to find the pitch we wanted for the film.

The whistling instantly brought us back to our childhood. It had a playful, poetic, nostalgic and melancholic note, and at the same time was extremely simple. The whistling was like a diapason which allowed us to find the right tone for the rest of the music. From then on, things went relatively fast. Klaus’ music was very rich, with surprising instrumental blends (which is what earned him a pharaonic two-week recording session, where each instrument was recorded seperately). In the middel of it all, Geert Chatrou’s whistling appears here and there, like a sort of guest star.

The recording session with Geert remains a wonderful memory; Klaus and I were utterly impressed by his capacity to improvise any piece whatsoever on the spot. When it was all over, my initial feeling about the music for Little Nicholas was, I must admit, one of deep relief. Music is always a very sensitive subject for directors....”

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