There's no telling what Austrian woodwind artist Max Nagle will pull out of his stockpile of tricks. A premier progressive jazz acolyte and prominent improviser, he's an ideas man who has recorded for many prominent European avant-garde record labels. Here, Nagl's nonet sculptures a program formed on traditional concepts with a nouveau 'tude. But his concentrated focus and uncanny manner of bridging multiple gaps all at once, generates a source of inspiration.
The live program intimates an air of rejuvenation. One of the more notable tracks is "Ippen Erger," a piece designed with complex rhythmic maneuvers that spark a sense of anticipation throughout. From the onset, the musicians coagulate a sense of disorder, then surge onward with dreamlike avant- expressionism amid punchy beats and free form detours. One of the more interesting aspects pertain to Pamelia Kurstin's use of the Theremin, often stylized into a vocal component atop Nagl's torrid sax lines and the strings sections' soaring upper-register ostinatos. However, the main plot is directed towards a mini-historical perspective, where straight-ahead jazz, rock, and the outside strata align with subtlety, grace, brawn and an air of intrigue. His compositional impetus is devised with melodic content, yet he doesn't favor any one particular genre.
Nagl bears a mark of distinction, whether engaging small or large ensemble projects or on releases where he fuses electronics and intersperses numerous musical vernaculars, often yielding a parade of striking frameworks.
Track Listing: Track #1; Track #2; Track #3.
Personnel: Pamelia Kurstin: Theremin; Joanna Lewis: violin; Anne Harvey-Nagl: violin; Max Nagle: soprano saxophone, alto saxophone, tenor saxophone and baritone saxophone; Clemens Salesny: clarinet, alto saxophone, tenor saxophone; Phillip Yeager: trombone; Clemens Wenger: keyboards; Raphael Preuschi: bass; Herbert Pirker: drums.
I love jazz because I was born and raised here in America, and it is one of the most significant cultural contributions we have given to the world. It is an incredibly sophisticated artform that continues to challenge boundaries while delighting and engaging listeners of all different ages and backgrounds
I love jazz because I was born and raised here in America, and it is one of the most significant cultural contributions we have given to the world. It is an incredibly sophisticated artform that continues to challenge boundaries while delighting and engaging listeners of all different ages and backgrounds. I love how jazz can involve musicians who may have never met each other can coming together and making incredible music by referring to the Great American Songbook and musicians who have been playing together for years, who have a deep connection and who explore and create original music that is at the cutting edge of musical innovation in every sense. Performing jazz music requires a virtuosity and technique that only strict discipline can teach as well as a spontaneity and playfulness that reflects the simple folk roots of the music.
I was first exposed to jazz as a student in college. Only knowing I wanted to play guitar, I enrolled in an applied music program that focused on Jazz rhythm section playing. The subsequent journey that I have been on since the time that I enrolled in that class has helped me grow not only as a musician but more so as a person.