Austrian bassist Hannes Enzlberger describes his affinity for the music of Carla Bley, along with brief anecdotes about how some of her works influenced the material here. The bassist conveys an organic tone amid his pliant execution and booming patterns. Whereas Enzlberger’s arrangements are built upon a chamber-like approach, awash with the quartet’s concise unison lines and compelling improvisational excursions. The group expounds upon the various flavors of these pieces with a semi-structural flow – where the disciplines of a classical quartet coalesce with the loose vibe of an improv troupe. Ultimately, they capture a mood to coincide with a few bluesy concepts, and whimsical storylines. Enzlberger asserts that his (suite-like) piece titled “Sieben Versatzstucke,” “represents a collage” of his exploration of Ms. Bley’s now legendary Escalator Over The Hill 3-LP set. Here, the quartet opens with a harsh ostinato groove, emphasized by pianist Oskar Aichinger’s heavy-handed block chords and Hans Steiner’s raspy bass clarinet work. The musicians also pursue highly emotive dialogue, while maneuvering through dark corners and cleverly articulated harmonic episodes. Recommended...
I love jazz because it is in my blood. It is the only original American art form. It is sacred. The greatest musicians are jazz artists.
I was first exposed to jazz in 1961 listening to my father's records of Duke Ellington, Billy Strayhorn, Count Basie, Nat King Cole, Ben Webster, Coleman Hawkins, Lester Young.
I met Sonny Stitt, Wayne Shorter, Branford Marsalis, Joey Calderazzo, Michael Brecker, Cannonball Adderley, Walter Booker, Dave Liebman, Joe Lovano, George Benson, Mike
Stern, Stanley Turrentine, Billy Harper, Skip Hadden, Charlie Haden.
The best show I ever attended was Joe Lovano with Soundprints at the Wexner Center in Columbus Ohio in 2014.
The first jazz record I bought was Miles Smiles.