Reviews that mention Franz Koglmann

August 18, 2019

Franz Koglmann Septet

Fruits of Solitude
ezz-thetics 1005

Usually mistakenly linked by non-Europeans to a Third Stream, retro West Coast-Cool style, Vienna based flugelhornist/trumpeter Franz Koglmann’s playing, composing and arrangements are joined to these genres by a very fragile thread. The obfuscation has come about because since he began recording more than 40 years ago, Koglmann’s work has been characterized by form as much as content; devising situations which don’t discard melody, but additionally invests program with nuanced swing with a fortified core. Among the 11 magisterial selections highlighted here careful listening determines that the brass player’s refined musical pastels suggest worldly orchestral arrangements of East Coasters such as Teddy Charles and Gigi Gryce as much as certified West coast icons, Shorty Rogers and Jimmy Giuffre saluted on Fruits of Solitude. MORE

February 11, 2016

Paul Bley

A Modern Jazz Piano Master
By Ken Waxman

Paul Bley who died at 83 in early January was probably never bothered that he was usually described as Canada’s second best-known jazz pianist; Oscar Peterson was the first. But Bley, who shared a Montreal birth with Peterson, and who similarly was honored with induction into the Order of Canada in 2008 – albeit 30 plus years after Peterson – was for all intents and purposes a much more radical pianist than O.P. Peterson, seven years Bley’s senior, was a flamboyant stylist who adapted Art Tatum’s all-encompassing swing era techniques to the structure of modern jazz during an almost incalculable number of performances from the late 1940s until his death in 2007. However Bley, represented on more than 100 discs during his career, cycled through a variety of keyboard strategies from the outgoing to the cerebral, eventually matching the atonality of off-centre techniques with straightforward, melodically measured motion. He was also one of the first serious improvisers to deal with the sonic possibilities that could be extracted from the then brand-new portable Moog synthesizer. Later, such better-known pianists as Keith Jarrett, The Bad Plus’ Ethan Iverson and Satoko Fujii developed their playing following the examples of Bley’s breakthroughs. MORE

November 16, 2014

Franz Koglmann

JOIN!
ORF-CD 3177

Nicole Mitchell

Intergalactic Beings

FPE Records FPE 02

Kyle Bruckmann’s Wrack

Awaits Silent Tristero’s Empire

Singlespeed Music SSM-014

Michael Lösch

Heroes

Sweet Alps No #

Something In the Air: Mixing Advanced Jazz with Program Music

By Ken Waxman

Creating an entire program of integrated story and sound has long been a hallmark of western music. Just because the 20th and 21st century has given composers not only more instruments and modes to work with but also the possibility of adding aleatoric passages hasn`t lessened such projects’ appeal. Unlike the sometimes ill-conceived so-called jazz musicals of the past, today’s improvisers have the skills needed to link a coherent story line with creative sounds. MORE

July 24, 2009

Franz Koglmann

Lo-lee-ta: Music on Nabakov
Col Legno WWE 1CD 30004

Master of understated, so-called Europeanized improvisation – with a tough membrane of sonic sophistication hidden underneath the gossamer-like surface – Austrian trumpeter/flugelhornist Franz Koglmann always seeks out new challenges. This is apparently why this fine CD was created.

Koglmann is long time reader and admirer of the works of Russian-American novelist and short-story writer Vladimir Nabokov (1899-1977), especially the convoluted plots, left-field ideas and word-play that characterizes Nabokov’s best work. Craftily in fact – and this may provide another glimpse into the Koglmann approach – the CD is titled Lo-lee-ta, which is a skewed variation on the title of Lolita, the 1955 novel that provided the erudite author with unexpected, misdirected fame as a purveyor of erotica. MORE

July 9, 2008

Wayne Horvitz Gravitas Quartet

One Dance Alone
Songlines SGL SA1571-2

Paul Bley

12+6 In A Row

hatOLOGY 649

Lisle Ellis

Sucker Punch Requiem

Henceforth Records 104

Radio I-Ching

The Fire Keeps Burning

Resonant Music 004

Mark O'Leary/Eyvind Kang/Dylan van der Schyff

Zemlya

Leo Records CD LR 507

Expatriate – and Homebody – Sounds

Extended Play

By Ken Waxman

Geographic proximity is responsible for the migration of gifted Canadian artists to the United States. Plus Canadian improvisers down south quickly find eager collaborators. MORE

July 9, 2008

Mark O'Leary/Eyvind Kang/Dylan van der Schyff

Zemlya
Leo Records CD LR 507

Paul Bley

12+6 In A Row

hatOLOGY 649

Lisle Ellis

Sucker Punch Requiem

Henceforth Records 104

Radio I-Ching

The Fire Keeps Burning

Resonant Music 004

Wayne Horvitz Gravitas Quartet

One Dance Alone

Songlines SGL SA1571-2

Expatriate – and Homebody – Sounds

Extended Play

By Ken Waxman

Geographic proximity is responsible for the migration of gifted Canadian artists to the United States. Plus Canadian improvisers down south quickly find eager collaborators. MORE

July 9, 2008

Paul Bley

12+6 In A Row
hatOLOGY 649

Lisle Ellis

Sucker Punch Requiem

Henceforth Records 104

Radio I-Ching

The Fire Keeps Burning

Resonant Music 004

Wayne Horvitz Gravitas Quartet

One Dance Alone

Songlines SGL SA1571-2

Mark O'Leary/Eyvind Kang/Dylan van der Schyff

Zemlya

Leo Records CD LR 507

Expatriate – and Homebody – Sounds

Extended Play

By Ken Waxman

Geographic proximity is responsible for the migration of gifted Canadian artists to the United States. Plus Canadian improvisers down south quickly find eager collaborators. MORE

July 9, 2008

Lisle Ellis

Sucker Punch Requiem
Henceforth Records 104

Paul Bley

12+6 In A Row

hatOLOGY 649

Radio I-Ching

The Fire Keeps Burning

Resonant Music 004

Wayne Horvitz Gravitas Quartet

One Dance Alone

Songlines SGL SA1571-2

Mark O'Leary/Eyvind Kang/Dylan van der Schyff

Zemlya

Leo Records CD LR 507

Expatriate – and Homebody – Sounds

Extended Play

By Ken Waxman

Geographic proximity is responsible for the migration of gifted Canadian artists to the United States. Plus Canadian improvisers down south quickly find eager collaborators. MORE

July 9, 2008

Radio I-Ching

The Fire Keeps Burning
Resonant Music 004

Paul Bley

12+6 In A Row

hatOLOGY 649

Lisle Ellis

Sucker Punch Requiem

Henceforth Records 104

Wayne Horvitz Gravitas Quartet

One Dance Alone

Songlines SGL SA1571-2

Mark O'Leary/Eyvind Kang/Dylan van der Schyff

Zemlya

Leo Records CD LR 507

Expatriate – and Homebody – Sounds

Extended Play

By Ken Waxman

Geographic proximity is responsible for the migration of gifted Canadian artists to the United States. Plus Canadian improvisers down south quickly find eager collaborators. MORE

November 3, 2003

JAMES EMERY

Transformations
between the lines btl 027

James Emery has finally fully realized his potential.

That may seem like a harsh assessment of someone who has been part of creative music for almost three decades, collaborating with major players and one-third of the String Trio of New York (STNY) for more than 25 years.

But in the past, most projects the New York-based guitarist has concentrated on have either been co-op (such as the STNY), or had him featured in a supporting role. Even on FOURTH WORLD, his previous between the lines CD, he seemed to be more of a sideman to saxophonist Joe Lovano than the leader of the date. MORE

April 21, 2003

ANDREA CENTAZZO/MITTELEUROPA ORCHESTRA

Live
Felmay/NewTone Records RDC 5047 2

PIERLUIGI BILLONE/KLANGFORUM WIEN/JOHANNES KALITZKE
Mani.long
DURIAN 019-2

Known in his native Italy and most of Europe as a composer who has written symphonies and lyric operas as well as scores for feature films, theatre productions, and multi-media efforts, Andrea Centazzo also has a history playing with international improvisers.

For about 15 years from the mid-1970s, as a percussionist, Centazzo recorded in different settings with such experimenters as saxophonists Steve Lacy and Evan Parker, guitarists Eugene Chadbourne and Derek Bailey and cellist Tom Cora. A series of discs was released on his own Ictus imprint, including most of the tracks found here with this large band. Organized as sort of a last hurrah by the composer to bring together acknowledged master improvisers and emerging talents, The Mitteleuropa Orchestra lasted from 1980 to 1990, after which writing became Centazzo’s primary focus. MORE

August 26, 2002

FRANZ KOGLMANN

Don’t Play, Just Be
Between the lines btl 021/EFA 10191-2

Thoroughly discredited -- or merely out of fashion -- in North America since the mid-1960s, the admixture of jazz and classical music called Third Stream seems to thrive in its afterlife in Europe. Or at least when it’s applied by Viennese composer/flugelhornist Franz Koglmann.

Excluding the final quartet track, the eight others here, divided into two suites, find Koglmann, clarinetist and tenor saxophonist Tony Coe, guitarist James Emery and bassist Uli Fussenegger providing the improvised components of music the flugelhornist wrote for the Klangforum Wien, a leading New Music orchestra. Adding soprano Ursula Fiedler for the second suite, four songs on the theme of late love (“späte liebe”) unbalances the equation with some extra-musical considerations, however. MORE

June 18, 2001

FRANZ KOGLMANN

Venus In Transit
Between the lines btl 016/EFA 10186-2

Music for a Vienna theatre project, sound pictures of architecture, and recording with mostly American sidemen in New York. Austrian composer/trumpeter Franz Koglmann is certainly trying out some curious -- for him -- concepts on this CD.

Written for a play within the play, the 12 tracks that make up VENUS IN TRANSIT appear to be uncharacteristic "light" music from Koglmann. It's rife with such devices as using the solid walking bass of Peter Herbert to drive home the steady beat throughout and encouraging Mat Maneri to overdo the viola's schmaltz-spreading characteristics on tunes like "Überstörung". Meanwhile, Michael Rabinowitz's bassoon tones and the viola float through "Ist das ansteckend?" as if it was being played in some Mittel (sic) -European drawing room. MORE

April 29, 2001

BILL DIXON/FRANZ KOGLMANN/STEVE LACY

Opium
between the lines btl 011/EFA 10181-2

Recorded in 1973, 1975 and 1976, these early glimpses into the mind of Austrian brassman Franz Koglmann surprisingly show him still wedded to an American free jazz conception, though his own ideas are starting to come through as well.

Or perhaps it shouldn't be that astonishing, considering that American soprano saxophonist Steve Lacy is present on most tracks. Additionally, the more than 17 minute "For Franz", initially released in a limited edition of 500 with hand painted covers, features Koglmann's early influence, trumpeter Bill Dixon and two other Americans.

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