Franz Koglmann must be a connoisseur of vinification, i.e. winemaking, because his Fruits Of Solitude has the feel of a master vintner at work. Specifically, wine blends like Super Tuscans or Côtes du Rhônes mark his amalgam of European chamber music and American jazz. Koglmann is a true polymath in that he hears all and rejects any codifications, much like Duke Ellington did throughout his long career.
As for Ellington, his classic "Solitude" is the inspiration for the three variations on Duke's theme. Koglmann, like Ellington, is inclined to create variations on variations. His instrumentation herefive horns and two stringsis the perfect blend to create this hybrid music. Hybrid, not fusion. This is not third stream music, but a fine propagation of sound. He draws from European compositional forms and the cool jazz that Gil Evans and Miles Davis evoked with their nonet. Besides the dip into Ellingtonia, he touches on Jimmy Giuffre with "Finger Snapper," and Dick Twardzik on "Yellow Tango." Both performances exude a shy swing by way of the orchestral instrumentation.
The inclusion of the Italian saxophonist Daniele D'Agaro assures the sound abides a jazz filter. Koglmann's "Martians Don't Go Home Anymore" is the most playful track on the recording. It is a take-off on West Coast trumpeter Shorty Rogers's alien-themed compositions "Martians Come Back" and "Martians Stay Home." Koglmann's arrangement mixes West Coast cool with George Gershwin's "Rhapsody In Blue," Leonard Bernstein's Broadway and Raymond Scott's cartoon music. Sounds pongy, but in the hands of a master vintner, this blend is 90+ points.
Fruits of Solitude II; Martians Don't Go Home Anymore; For Max; Untitled; Garden with Blue Terrace;
Salut Solal; Fruits of Solitude I; Finger Snapper; Leopard Lady; Fruits of Solitude III; Yellow Tango.
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