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Tuesday, March 13th 2007, 1:14pm
Analoge Allianz stellt Masterband-Kopien bereit
Kleine Perlen aus der Wiege des analogen Wohlklanges
- Erwerb von Masterbandkopien wird über die Analogue Audio Association jetzt möglich -
Heute noch ist der wichtigste Baustein im analogen Herstellungsprozess einer Vinylschallplatte nach wie vor das analoge Masterband. Es speichert nicht nur zunächst die Musik, die wir alle später als Tonträger erwerben und zuhause in möglichst guter Klangqualität wiedergeben möchten, sondern dient auch als wichtiges Werkzeug beim Mastering sowie beim Schnitt der Lackfolie.
Die außergewöhnlich hohe Klangqualität, welche solche Masterbänder bieten, kennt der anspruchsvolle Musikhörer oftmals nur vom Hörensagen, denn wie sich so etwas wirklich anhört, war bisher immer nur den am Produktionsprozess beteiligten Personen und vielleicht noch wenigen Eingeweihten zugänglich. Mal ehrlich, haben Sie sich nicht schon immer gewünscht, vielleicht einmal selbst eine hochwertige Kopie eines solchen Masterbandes zu besitzen und auf der eigenen Anlage abspielen zu können?
Das ist jetzt möglich!
Die Analogue Audio Association (AAA) hat in Zusammenarbeit mit dem Label Quinton die Möglichkeit geschaffen, in den Genuss genau dieses besonderen Hörerlebnisses zu gelangen.
Bereits in den sechziger und siebziger Jahren erfreuten sich die sogenannten „pre-recorded tapes“ vor allem in den USA großer Beliebtheit. Aktuelle Alben wurden sowohl auf Vinyl als auch industriell auf Tonband produziert. Die Qualität der Bänder war trotz teilweise geringer Abspielgeschwindigkeit (9,5 cm/sec) und Viertelspurtechnik häufig überraschend gut, erst recht mit 19 cm/sec und in Halbspur Stereo.
Im Gegensatz zu diesen, über Kopierstraßen in Großserie erstellten Bändern aus einer nicht definierten Nachfolgegeneration des ursprünglichen Masters, werden hier unter Verwendung genau einjustierter Profibandmaschinen – quasi in Handarbeit – unter akribischer Qualitätskontrolle und in begrenzter Stückzahl klangliche Juwelen in Form von 1:1-Kopien angefertigt. Als Aufnahmeträger wurde hochklassiges Studio-Mastertape Typ 468 auf 26er Metallspule ausgewählt. Diese Bandsorte stellt einerseits sicher, dass die auf höchstem Niveau angesiedelten klanglichen Eigenschaften beim Kopierprozess auch langzeitlich erhalten bleiben, anderseits die bestmögliche Wiedergabe auch über richtig eingestellte Amateurtonbandgeräte in vollem Umfang ermöglicht wird.
Zunächst bilden sechs hochklassige Alben (allesamt Quinton – Produktionen) den Einstieg in diese Form des Tonträgers.
Wer erst einmal in den klanglichen Hochgenuss gekommen ist, bekommt wahrscheinlich schnell „Appetit auf mehr davon“.
Bei großem Interesse seitens der Musikhörerschaft kann die Palette in Zukunft sicher auch erweitert werden. Wie immer wieder von Analogfreunden berichtet wird, laufen noch in sehr großer Stückzahl betriebsfähige Tonbandgeräte in den heimischen Musikzimmern.
Geräte sind somit genug vorhanden, und neues musikalisches „Futter“ steht zum offiziell Erwerb dank AAA und Quinton in dieser Qualität jetzt erstmalig zur Verfügung.
Mehr über das Label Quinton und die dort herrschende Philosophie der Aufnahmetechnik erfahren sie unter www.quinton.at oder auch auf den Analogforen der Analogue Audio Association (AAA) – wie zum Beispiel jetzt am 17. und 18. März 2007 in Frankfurt-Eschborn.
Hier können Sie hineinschnuppern in die Welt der analogen Musikproduktion, Masteringprozess und Wiedergabe.
Erwerben kann man diese Preziosen, zusammen mit einem ausführlichen Booklet, über die Geschäftsstelle der Analogue Audio Association in Oberhausen. Varianten für Geschwindigkeit, Spurlage und Entzerrungen entnehmen Sie bitte nachfolgender Tabelle, Preise sowie Musiktitel finden Sie im Anschluss.
Der Käufer kann zwischen acht Varianten wählen:
19 cm/sec, NAB, Halbspur Stereo, 2 mm Trennspur
19 cm/sec, NAB, Halbspur Stereo, 0,75 mm Trennspur
19 cm/sec, CCIR, Halbspur Stereo, 2 mm Trennspur
19 cm/sec, CCIR, Halbspur Stereo, 0,75 mm Trennspur
38 cm/sec, NAB, Halbspur Stereo, 2 mm Trennspur
38 cm/sec, NAB, Halbspur Stereo, 0,75 mm Trennspur
38 cm/sec, CCIR, Halbspur Stereo, 2 mm Trennspur
38 cm/sec, CCIR, Halbspur Stereo, 0,75 mm Trennspur
Die Bänder können ab dem zweiten Quartal 2007 verbindlich über die AAA-Geschäftsstelle in Oberhausen bestellt werden.
Um dem hohen Qualitätsanspruch gerecht zu werden, sind Angaben zur Abspielmaschine zwingend erforderlich. Der Umgang mit den aufgeführten Masterbandkopien unterliegt gewissen vertraglichen Beschränkungen, deren Einhaltung der Käufer schriftlich zu bestätigen hat. Dafür bitten wir um Verständnis.
Die Kosten je Titel betragen (ohne Versand) in der 19 cm/sec Version 145,00 Euro und in der 38 cm/sec Version 195,00 Euro.
Geliefert werden die Tonbänder auf 26,5 cm Metallspule(n) im Klappkarton.
Für unsere Vereinsmitglieder gibt es einen um 20 € reduzierten Preis pro Album.
Bei Abnahme aller Titel reduzieren sich die Preise nochmals!
Nähere Auskünfte und Bestellformular findet man hier.
Kontakt:
Analogue Audio Association e.V.
Ebertstr. 51
46045 Oberhausen
Tel: 0208 3026742
Fax: 0208 3026744
Info@AAAnalog.de
www.AAAnalog.de
Bandbeschreibungen und Titellisten:
Borghetti Quartett Renato - Gaúchos
Renato Borghetti, 1963 geboren, ist ein Meister der „gaita ponto“, des Akkordeons, welches die Gaúchos – jene verwegenen brasilianischen Cowboys – von Rio Grande do Soul in Brasilien und im Norden Argentiniens beherrschen. Mit 15 feierte er sein musikalisches Debut mit Festival-Auftritten in Brasilien. Seither spielte er mit Luís Gonzage, Hermeto Pascoal, Stephane Grapelli oder Ron Carter. Seine erste LP war 1984 die erste Produktion mit brasilianischer Instrumentalmusik, die eine Goldene Schallplatte für ihre über 100.000 verkauften Exemplare errang. Die Wiederauflage (als CD) verkaufte sich 250.000 Mals und erreichte Platin Status.
Tracks: Prologue – Lacador – Taquito Militat – Quarto De Bebe – Redomona – Entardecer No Pontal – Fronteira – Fazendo Fogo – Pout Pourrit De Rancheiras – Milonga Para As Missoes – Carona Para O Norte – Setima – Do Pontal – Barra Do Ribeiro
Kyoto - Mau Pin
Kyoto – das sind Johannes Enders (Saxophon), Joe Locke (Vibraphon), Ed Howard (Kontrabass), Christian Salfellner (Drums).
Johannes Enders spielt mit reichhaltiger internationaler Erfahrung auf. In Gigs mit Donald Byrd, Jeff Watts, Roy Hargrove oder Vincent Herring beweist er seine extreme Vielseitigkeit. xxxx gründet er Kyoto. Ursprünglich war Kyoto der Titel einer Komposition. Dann entschieden die Künstler, den Namen der Band zu geben. Denn Kyoto ist mehr als ein Ausschnitt oder ein einzelnes Projekt. Kyoto ist Programm: Die alte japanische Hauptstadt, ebenso die Hauptstadt des japanischen Zen Buddhismus und der Zen-Klöster, spiegelt dieses Programm als Vision und Suche: Selbstfindung, respekvoller- und friedvoller Umgang untereinander, Einigkeit mit sich selbst und der Welt. Nach drei Tourneen von Kyoto hatte die Suche ein erstes Resultat: Mau Pin.
Tracks: Black Elk Speaks – Coincidence – Sonett #1 – Dora – Emty Chalice – Snow Silence – Mau Pin – Over Ground
Wolfgang Puschnig & Linda Sharrock –
Late Night Show Part I
Wolfgang Puschnig & Linda Sharrock –
Late Night Show Part II
Wolfgang Puschnig ist einer der federführenden Jazzmusiker Europas. Er war Mitbegründer des Vienna Art Orchestra und spielte mit so unterschiedlichen Ensembles wie den Pat Brothers, der Carla Bley Big Band oder den Wiener Symphonikern. Linda Sharrock hat immer – egal ob mit Sonny Sharrock in Philadelphia, ob mit Ornette Coleman in New York oder den koreanischen Musikern Samul Nori – mit ihrer Stimmer eigene Akzente neben dem Mainstream gesetzt. Die legendäre Band von Puschnig und Sharrock, die bereits 2001 mit dem Album „Chants“ für Aufsehen sorgte, legt mit „Late Night Show I & II“ zwei Alben mit Standards und zwei Eigenkompositionen von Wolfgang Puschnig vor. Moderiert von FM4 Dj Joe Remick, der mit den Songs gerne seine mitternächtliche Radiosendung gestaltet. Die Tracks der beiden Alben sind fast allesamt Gassenhauer. Jazzstandards wie „Blue Moon“, „Besame Mucho“ oder „My funny Valentine“. Popsongs wie “Blackbird” der Beatles, “Oye Como Va”, das durch Santana weltberühmt wurde oder “Love me Tender” von Elvis Presley. Ihre eigene Note erhalten die Songs durch das „chanten“: „chants“ waren frühe work songs, Arbeitslieder von Gefangenen und Sklaven, archaisch und kraftvoll, auf einfache Melodien und einen die Arbeit unterstützenden Rhythmus beschränkt. Die beiden Eigenkompositionen sind „Thoughts Of Stone“ und „Hear Them Say“.
Tracks (Part I): The Colour Of Desire – Blue Moon – The King – Love Me Tender – My One And Only Love – Nature Boy – Love And Hope – Hear Them Say – Little Girl Blue
Tracks (Part II): Besame Mucho – Oye Como Va – Lots Of Kisses – Blackbird – My Funny Valentine – The Sanctum – May This Be Love – Waterfall – Broken Heart – Thought Of Stone – Taking Us Home – Blue Moon
Sabina Hank - Blue Moments
Sabina Hank ist eine junge Komponistin, Pianistin und Sängerin. Sie ist Singer/Songwriter im besten Sinne des Wortes, mit einem breiten Spektrum an musikalischer Ausdruckskraft. Ihr Trio, Klavier - Bass – Schlagzeug, in Kombination mit Sabina Hank selbst am Gesangsmikrofon, ist perfekt aufeinander eingespielt. So entstanden die Aufnahmen im Studio auch "in einem Guss" - also ohne Gesangs-Overdubs. Der Gedanke hinter Blue Moments? Jazzstandards von Duke Ellington bis Frederick Loewe sowie einige Eigenkompositionen, die schon bald Standards werden könnten. Jazz als moderne Form der musikalischen Sprache. Sabina Hanks 13jährige klassische Klavierausbildung am Salzburger Mozarteum bildet die solide technische und geistig-musikalische Basis. Jedoch entdeckte sie bereits früh ihre Liebe zum Jazz und vollendete konsequenter Weise ihre Ausbildung mit dem Studium von Klavier- und Vokal-Jazz am Brucknerkonservatorium Linz.
Tracks: Smoke, Out In Birmingham B. – Cruising Around – Birmingham B. (instr.) – Restless Souls – Beautiful Love – Secret Sun – More Than A Friend – For All We Know – Silent Tears – On The Street Where You Live – Caravan
Muthspiel, Johnson, Blade - Real Book Stories
Der in Judenburg geborene Gitarrist Wolfgang Muthspiel gilt als Grazer ebenso wie als New York Resident. 2002 kehrte er aus Amerika nach Wien zurück. Seine weit gefächerte Orientierung sieht Muthspiel sowohl durch Künstler wie Olivier Messiaen, Glenn Gould und Bach, als auch durch Miles Davis, Prince oder Bill Evans geprägt. Drummer Brian Blade, der seine Kindheit in den amerikanischen „Southern Badlands“ verbrachte, ist nicht nur Jazz-Musiker, sondern fühlt sich ebenso wohl im R&B und Pop. Bassist Marc Johnson ist seit 20 Jahren eine feste Größe in der Jazz-Szene. Sein Name liest sich auf über 100 Alben, die er aufnahm zusammen mit Größen wie zum Beispiel Stan Getz, Michael Brecker, Peter Erskine. Sein musikalischer Background spannt sich von Beethoven zu Hendrix. Mit Blade und Johnson blickt Wolfgang Muthspiel von „außerhalb“ auf das Jazzerbe Amerikas – die „Standards and Originals“. Unter dem Titel „Real Book Stories“ interpretiert das Trio Kompositionen von Hammerstein, Weill, Coltrane, Monk bis zu Miles Davis. Der gelassene Blick und die vielfältige musikalische Erfahrung führen zu einer sorgsamen Annäherung an dieses große Jazzthema, in dem etwa Keith Jarrett seine Meisterschaft bewiesen hat.
Tracks: Lament – All The Things You Are – Someday My Prince Will Come – I Hear A Rhapsody – Blue In Green – Giant Steps – Peace – Liebeslied – Ask Me Now – Solar
Hier geht es weiter: AAA/Quinton - Masterband-Kopien
Ist der Ruf erst ruiniert, lebt es sich recht ungeniert. 
This post has been edited 6 times, last edit by "RS1500" (Oct 27th 2007, 12:30pm)
Friday, October 26th 2007, 10:32pm
Hallo,
auf dem AAA-Forum in Krefeld konnten die Bänder besichtigt und Probe gehört werden. Wer jetzt auf den Geschmack gekommen ist, kann sich den anhängenden Bestellschein herunterladen und ausdrucken. Dann ausfüllen, ankreuzen und zurück schicken. Steht aber auch alles drauf
Gruß
Michael
auf dem AAA-Forum in Krefeld konnten die Bänder besichtigt und Probe gehört werden. Wer jetzt auf den Geschmack gekommen ist, kann sich den anhängenden Bestellschein herunterladen und ausdrucken. Dann ausfüllen, ankreuzen und zurück schicken. Steht aber auch alles drauf
Gruß
Michael
Sunday, April 5th 2009, 12:26pm
Die Masterbandserie der AAA wird erweitert!
Die Masterbandserie der AAA wird um drei Titel erweitert!
In bekannter Spitzenqualität und wieder auf höchstem musikalischen Niveau bietet die AAA in Zusammenarbeit mit Quintonrecords drei neue Titel aus der Masterbandserie. Die Titel können jetzt schon zu den gleichen Konditionen bestellt werden, die Auslieferung erfolgt sukzessive. Abo- Inhaber haben die Möglichkeit, ihr Abo um diese drei Titel zu erweitern. Hörproben kommen demnächst. Die Cover öffnen sich nach dem Anklicken auf die volle Größe.
"Snow Owl"
Snow Owl | Greg Osby | Edward Simon | Antonio Sanchez (on tour)
tracks
1. Touched
2. The Summon
3. Los Ojos del Siego
4. Bassically Minor
5. Summertime Blue
-----
6. Uncertainty
7. Ozthetica
8. Blues For Krampus
9. Milagros, lagrimas y el destino
“A life of sound is a destined miracle of tears. In shakespearean legend an owl’s shriek foreshadowed the passing of a soul. In my case, the opposite occurred.It was a white owl that touched and guided my spirit from the far planes of eternity into earth’s physical realm.The white feathered guardian has summoned me here to speak the language of creation…to speak music.”
The Snow Owl
producer's notes
If you think about the individual sound of an electric bass player, there are not too many that you will recognize instantaneously. Eberhard Weber, Steve Swallow and of course Jaco Pastorius are great examples. This leads us straight to Juan “Snow Owl” García-Herreros. He sounds different, too. He can sound very low, but on the other hand can make his instrument sing and sound like a flamenco guitar. These two opposites might be influenced by his South American roots: He was born in Bogota/Colombia, where the Indians of the Andes called him "The Snow Owl", but grew up in the melting pot of New York, where he mixed up all of the different musical styles he had heard, studied and performed: Blues, Funk, Jazz, Heavy Metal, Rock, Salsa - you name it... But what really makes the Snow Owl different is his own personal way of talking to people, and it is this open-hearted communication that you can hear in every single tone. Here, the vehicle to communicate is not only his instrument but his entire quartet.
Just listen...
lineup
Snow Owl - six string electric contrabass guitar
Greg Osby - alto and soprano saxophones
Edward Simon - grand piano, synthesizers
Terri Lyne Carrington - drums, percussion
The Band
Snow Owl - Juan Garcia-Herreros was born in Bogota, Colombia. The name Snow Owl was given to him at birth by the leader of his tribe. He came to United States and arrived in New York City at age nine. He received a coveted scholarship to attend the prestigious Berklee College Of Music in Boston. Juan studied at Berklee with worldrenowned bass instructors Bruce Gertz and Oscar Stagnaro. By age 21 he returned to New York City to pursue a professional music career. While in New York, Juan developed the ability to meet the demands of multiple styles. Whether the musical genre is Funk, Salsa, Straight Ahead, Modern Jazz, Heavy Metal or Avantgarde, he is capable of participating without any compromise. He has performed as a sideman with an impressive list of musicians including Thomas Lang, James Spaulding, Miguel Zenón, Yusveny Terry, Anton Denner, Oscar Hernandes, Roberto Quintero, Mark Whitfield, Michael Stuart and many others. The “Snow Owl Quartet” is his debut record as a leader.
Greg Osby - Saxophonist, composer, producer and educator Greg Osby has made an indelible mark on contemporary jazz as a leader of his own ensembles and as a guest artist with other acclaimed jazz groups for the past 20 years. Notable for his insightful and innovative approach to composition and performance of original jazz music, Osby is a shining beacon among the current generation of jazz musicians. He has earned numerous awards and critical acclaim for his recorded works and passionate live performances.
Edward Simon - Born in Cardón, Venezuela, Edward Simon arrived on the jazz scene in New York performing in a trio led by bassist Charles Fambrough. The steady gig garnered him a reputation as a pensive, rhythmically-astute player, which caught the ear of noted musicians Greg Osby, Kevin Eubanks, and Bobby Watson, all of whom hired Simon. He toured with Watson’s Horizon band for five years while juggling dates with established jazz players like Jerry Gonzales, Herbie Mann, Paquito D’Rivera and Terence Blanchard.
Terri Lyne Carrington - World-renowned drummer, composer, producer and clinician, Terri Lyne Carrington, has maintained her status in the industry as a person to watch for over 20 years. Terri developed a reputation as a child prodigy, jamming with jazz veterans Dizzy Gillespie, Rahsaan Roland Kirk, Oscar Peterson, Joe Williams, and many more. She recorded along with Joni Mitchell, Stevie Wonder and was touring with Herbie Hancock’s both his electric and acoustic bands. Right now she takes a time out from touring, concentrating on teaching in the Berklee College Of Music.
Nouvelle Cuisine featuring Christian Kronreif - Mozart Revisited
(JazzFirst award winner 2005. A project of ErsteBank, Jazzzeit and Quinton)
tracks
1. Lydian Angel
2. Priest
3. Turcabeat
4. Searching For Don
-----
5. Lullaby
6. Figure It Out!
7. Preachin'
8. Bitter Flames
What the Nouvelle Cuisine thinks about Mozart … an interview.
What makes Mozart's music so special?
Cech: As a young piano student I was confronted with the Mozart sonatas, but I actually preferred playing Haydn. I didn't tell my piano teacher that, because instinctively I suspected that in Austria – or maybe even world-wide – you just don't criticise Mozart. And his "Requiem" is one of the most intense pieces of music I know
Mühlbacher: I've known some of Mozart's music since I was a young child. I'm sure I played one or two of his minuets on the piano. I heard the "Magic Flute" for the first time when I was six years old... Now, when I hear or see works by this great master, I always have to tip my hat to him. The speed at which he composed must have been incredible as well – he packed a great deal into a very short time! I suspect that he had all the musical building blocks he could conceive of in his head and at his disposal at all times – which is a brilliant achievement in its own right.
Kronreif: When I was nine I played the clarinet while wearing a Mozart wig. Whether it was a childhood dream or trauma, I can't say. Even before that (with the recorder...) and particularly afterwards he was a constant companion in my musical training.
A Mozart project like this one, which refrains from simply reproducing his music, is always a tightrope walk. The question is not so much what Mozart was, but rather what he would probably be today. So the real question is: "How would he have liked this?" Mozart was definitely up on what was going on in his time – in other words, he was "hip", and with that spirit he would certainly be experimenting and "grooving" if he were around today.
What is your connection to the compositions you have chosen?
Cech: Since I had to grow up without being able to watch much television at home, the "Betthupferl" programme was the finale of what for me was always a much longed-for afternoon of sitting in front of the boob tube at my grandfather's. The flickering black-and-white screen with the fidgety figures trying to jump around to Mozart's music sent pleasant shivers down my spine, all of which was abruptly interrupted by the command that it was time to go home. The "alla Turca" picked up a lot of drive when I played it – at least in the beginning, before I broke my tender young fingers on the octaves. Jupiter is Jupiter, and my fourth will be my bonus track. I'll read the biography before I make a decision...
Mühlbacher: I selected several pieces or passages that have long meant something to me. I found the march of the priests from the "Magic Flute" while I was looking for forms that were – at least partially – self-contained. It's something like a beautiful pop song – a potential standard, as it were.
I found the beginning of the overture to "Don Giovanni" while looking for dramatic material (that's just my nature). There's such an incredible amount of excitement and suspense right in the first 30 bars! Besides, is it possible that this was the source for Morricone's theme music to "Once Upon A Time in the West"? There's so much to play with here!
The duet by Papageno/Papagena, on the other hand, is an incredible example of acceleration. And the intensity of the "Requiem" is simply phenomenal!
How can a big band as an instrument transport Mozart's distinctive soundscape?
Cech: Actually, a big band as an instrument can not transport Mozart's distinctive soundscape at all... But it's not the soundscape that is important; it's the themes and the extraordinary flow of Mozart's melodies, which develop with a fascinating effortlessness within the tight constraints of the music's courtly cadences. It's all so gossamer-fine.
Mühlbacher: The basic difficulty of this undertaking is the fact that W. A. Mozart's music is constantly developing and evolving, never staying in the same place. A big band with soloists, on the other hand, needs a broader musical space to be able to stretch out – especially in the case of improvisation and solos. In this sense, the master did not accommodate us at all. So that's where our job started... We can replicate the broad orchestral string sound to a point with other instruments – except for the danger of running out of breath. But that can be remedied with a synthesiser-type instrument, a guitar or adding some reverb in the mixing process... And we definitely have the rhythmic component in our favour – the groove factor!
What Mozart clichés – musical or personal – bother you most?
Cech: Mozart's time was a period when the music was forever leading into cadences, and that's tough for someone as counterpoint-oriented as me. There's nothing about Mozart as a person that bothers me. I think he was a likeable, humorous, lively person, but probably that in itself is a cliché... What bothers me about the whole Mozart hubbub is that he is the "consensus composer": even boring, unmusical, BMW-driving manager types and their pearl-draped women love Mozart's music and find it so wonderfully soothing.
Mühlbacher: It bothers me that a genius of this calibre ended up in a pauper's grave. Not that I think he would be more comfortable in a different one – it just tells us that he couldn't really make a decent living from his music. And now it's being flogged so mercilessly that it can make you sick!
Kronreif: Bothersome are Mozart's melodies and musical quotations in a condensed form – especially prevalent in Salzburg but also widespread in Vienna – during the season of the Japanese tourists. But it's not the fault of the Japanese... Furthermore, despite the millions spent on tourism, the legacy of Mozart is unfortunately not that people in Salzburg are – or are able to become – especially musical or artistic. Millions for tourism instead of a cultural heritage. And in summer, when I see all the faux Wolfgangs standing around in the downtown areas of Vienna and Salzburg, grovelling in front of all the tourists, I sometimes have to cry – or laugh. But it's their own fault if they go along with it...
Do you like Mozart Kugeln?
Cech: Yes, of course – damn – where can I get my hands on one now.....
Mühlbacher: Sure! But a single one seems to take care of my sugar needs for a while...
Kronreif: I grew up practically next door to the original factory. They're a bit cheaper there...
What should Austria do in order to transport Mozart – and not just a caricature suitable for tourism purposes?
Cech: Get Mozart out of all the shops and go easy on performing his music for a while. The Salzburg Festival should consist only of music composed after 1945.
Mühlbacher: Produce CDs like this one!
There's Mozart and Falco, but who is missing as a true Austrian music star?
Cech: My star is Schubert.
Mühlbacher: ?
Kronreif: There's too much creative potential for just one name!
Do you have one favourite Mozart work you would take with you to a desert island?
Cech: If I could take something with me to a desert island, it certainly wouldn't be a CD player. I would take a musical clock with "Eine Kleine Nachtmusik" and spend years training a monkey to operate it while giving me a light.
Mühlbacher: The "Requiem".
Kronreif: That's difficult, like with a lot of the great masters. Every work has passages that make it a favourite.
lineup
Sascha Otto – flute, alto flute
Clemens Salesny – alto saxophone, clarinet
Romed Hopfgartner – soprano saxophone, alto saxophone, clarinet
Christian Kronreif – tenor saxophone
Manfred Balasch –tenor saxophone, flute, bass clarinet
Bernhard Brunmair – baritone saxophone, clarinet
Christoph Walder – french horn
Balduin Wetter – french horn
Aneel Soomary – trumpet
Andi Pranzl – trumpet
Martin Ohrwalder – trumpet
Walter Fend – trumpet
Gerd Rahstorfer – trumpet
Werner Wurm – trombone
Martin Ptak – trombone
Daniel Riegler – trombone
Charly Wagner – bass trombone
Cyriak Jäger – bass trombone, tuba
Hans Georg Gutternigg – tuba, ophikleide
Christoph Cech – piano, composer, arranger
Alex Machacek – guitar
Tibor Kövesdi – electric bass
Raphael Preuschl – double bass
Lukas Knöfler – drums
Christian Mühlbacher – percussion, composer, arranger
Karl Petermichl – electronics
Linda Sharrock - Confessions
(Nominated "record of the year" by the jury of "Hans-Koller-Preis 2005")
tracks
1. Sometimes I Feel Like A Motherless Child
2. Goodbye
3. You Didn't Know Me
4. Sable
-----
5. Ooh Boy
6. Prayer
7. Clair Obscur
8. Suddenly
9. You Said You Love Me
producer's notes
At the first glance, Linda Sharrockís music might seem shy. No mainstream. But listen again: Beautiful melodies, most sensitive rhythms. A very special pulse. Linda Sharrock has never been a typical singer. Much more she is a great lyricist, captivating her audience with a vocal performance that is unique. The very own aesthetics of a singer/songwriter capable of telling stories in her own, special way.
These "confessions" are beyond time, they are urbane and personal.
Confessions. The "Black Diva" at her best.
lineup
Linda Sharrock
Stephan Oliva
Claude Tchamitchian
In bekannter Spitzenqualität und wieder auf höchstem musikalischen Niveau bietet die AAA in Zusammenarbeit mit Quintonrecords drei neue Titel aus der Masterbandserie. Die Titel können jetzt schon zu den gleichen Konditionen bestellt werden, die Auslieferung erfolgt sukzessive. Abo- Inhaber haben die Möglichkeit, ihr Abo um diese drei Titel zu erweitern. Hörproben kommen demnächst. Die Cover öffnen sich nach dem Anklicken auf die volle Größe.
"Snow Owl"
Snow Owl | Greg Osby | Edward Simon | Antonio Sanchez (on tour)
tracks
1. Touched
2. The Summon
3. Los Ojos del Siego
4. Bassically Minor
5. Summertime Blue
-----
6. Uncertainty
7. Ozthetica
8. Blues For Krampus
9. Milagros, lagrimas y el destino
“A life of sound is a destined miracle of tears. In shakespearean legend an owl’s shriek foreshadowed the passing of a soul. In my case, the opposite occurred.It was a white owl that touched and guided my spirit from the far planes of eternity into earth’s physical realm.The white feathered guardian has summoned me here to speak the language of creation…to speak music.”
The Snow Owl
producer's notes
If you think about the individual sound of an electric bass player, there are not too many that you will recognize instantaneously. Eberhard Weber, Steve Swallow and of course Jaco Pastorius are great examples. This leads us straight to Juan “Snow Owl” García-Herreros. He sounds different, too. He can sound very low, but on the other hand can make his instrument sing and sound like a flamenco guitar. These two opposites might be influenced by his South American roots: He was born in Bogota/Colombia, where the Indians of the Andes called him "The Snow Owl", but grew up in the melting pot of New York, where he mixed up all of the different musical styles he had heard, studied and performed: Blues, Funk, Jazz, Heavy Metal, Rock, Salsa - you name it... But what really makes the Snow Owl different is his own personal way of talking to people, and it is this open-hearted communication that you can hear in every single tone. Here, the vehicle to communicate is not only his instrument but his entire quartet.
Just listen...
lineup
Snow Owl - six string electric contrabass guitar
Greg Osby - alto and soprano saxophones
Edward Simon - grand piano, synthesizers
Terri Lyne Carrington - drums, percussion
The Band
Snow Owl - Juan Garcia-Herreros was born in Bogota, Colombia. The name Snow Owl was given to him at birth by the leader of his tribe. He came to United States and arrived in New York City at age nine. He received a coveted scholarship to attend the prestigious Berklee College Of Music in Boston. Juan studied at Berklee with worldrenowned bass instructors Bruce Gertz and Oscar Stagnaro. By age 21 he returned to New York City to pursue a professional music career. While in New York, Juan developed the ability to meet the demands of multiple styles. Whether the musical genre is Funk, Salsa, Straight Ahead, Modern Jazz, Heavy Metal or Avantgarde, he is capable of participating without any compromise. He has performed as a sideman with an impressive list of musicians including Thomas Lang, James Spaulding, Miguel Zenón, Yusveny Terry, Anton Denner, Oscar Hernandes, Roberto Quintero, Mark Whitfield, Michael Stuart and many others. The “Snow Owl Quartet” is his debut record as a leader.
Greg Osby - Saxophonist, composer, producer and educator Greg Osby has made an indelible mark on contemporary jazz as a leader of his own ensembles and as a guest artist with other acclaimed jazz groups for the past 20 years. Notable for his insightful and innovative approach to composition and performance of original jazz music, Osby is a shining beacon among the current generation of jazz musicians. He has earned numerous awards and critical acclaim for his recorded works and passionate live performances.
Edward Simon - Born in Cardón, Venezuela, Edward Simon arrived on the jazz scene in New York performing in a trio led by bassist Charles Fambrough. The steady gig garnered him a reputation as a pensive, rhythmically-astute player, which caught the ear of noted musicians Greg Osby, Kevin Eubanks, and Bobby Watson, all of whom hired Simon. He toured with Watson’s Horizon band for five years while juggling dates with established jazz players like Jerry Gonzales, Herbie Mann, Paquito D’Rivera and Terence Blanchard.
Terri Lyne Carrington - World-renowned drummer, composer, producer and clinician, Terri Lyne Carrington, has maintained her status in the industry as a person to watch for over 20 years. Terri developed a reputation as a child prodigy, jamming with jazz veterans Dizzy Gillespie, Rahsaan Roland Kirk, Oscar Peterson, Joe Williams, and many more. She recorded along with Joni Mitchell, Stevie Wonder and was touring with Herbie Hancock’s both his electric and acoustic bands. Right now she takes a time out from touring, concentrating on teaching in the Berklee College Of Music.
Nouvelle Cuisine featuring Christian Kronreif - Mozart Revisited
(JazzFirst award winner 2005. A project of ErsteBank, Jazzzeit and Quinton)
tracks
1. Lydian Angel
2. Priest
3. Turcabeat
4. Searching For Don
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5. Lullaby
6. Figure It Out!
7. Preachin'
8. Bitter Flames
What the Nouvelle Cuisine thinks about Mozart … an interview.
What makes Mozart's music so special?
Cech: As a young piano student I was confronted with the Mozart sonatas, but I actually preferred playing Haydn. I didn't tell my piano teacher that, because instinctively I suspected that in Austria – or maybe even world-wide – you just don't criticise Mozart. And his "Requiem" is one of the most intense pieces of music I know
Mühlbacher: I've known some of Mozart's music since I was a young child. I'm sure I played one or two of his minuets on the piano. I heard the "Magic Flute" for the first time when I was six years old... Now, when I hear or see works by this great master, I always have to tip my hat to him. The speed at which he composed must have been incredible as well – he packed a great deal into a very short time! I suspect that he had all the musical building blocks he could conceive of in his head and at his disposal at all times – which is a brilliant achievement in its own right.
Kronreif: When I was nine I played the clarinet while wearing a Mozart wig. Whether it was a childhood dream or trauma, I can't say. Even before that (with the recorder...) and particularly afterwards he was a constant companion in my musical training.
A Mozart project like this one, which refrains from simply reproducing his music, is always a tightrope walk. The question is not so much what Mozart was, but rather what he would probably be today. So the real question is: "How would he have liked this?" Mozart was definitely up on what was going on in his time – in other words, he was "hip", and with that spirit he would certainly be experimenting and "grooving" if he were around today.
What is your connection to the compositions you have chosen?
Cech: Since I had to grow up without being able to watch much television at home, the "Betthupferl" programme was the finale of what for me was always a much longed-for afternoon of sitting in front of the boob tube at my grandfather's. The flickering black-and-white screen with the fidgety figures trying to jump around to Mozart's music sent pleasant shivers down my spine, all of which was abruptly interrupted by the command that it was time to go home. The "alla Turca" picked up a lot of drive when I played it – at least in the beginning, before I broke my tender young fingers on the octaves. Jupiter is Jupiter, and my fourth will be my bonus track. I'll read the biography before I make a decision...
Mühlbacher: I selected several pieces or passages that have long meant something to me. I found the march of the priests from the "Magic Flute" while I was looking for forms that were – at least partially – self-contained. It's something like a beautiful pop song – a potential standard, as it were.
I found the beginning of the overture to "Don Giovanni" while looking for dramatic material (that's just my nature). There's such an incredible amount of excitement and suspense right in the first 30 bars! Besides, is it possible that this was the source for Morricone's theme music to "Once Upon A Time in the West"? There's so much to play with here!
The duet by Papageno/Papagena, on the other hand, is an incredible example of acceleration. And the intensity of the "Requiem" is simply phenomenal!
How can a big band as an instrument transport Mozart's distinctive soundscape?
Cech: Actually, a big band as an instrument can not transport Mozart's distinctive soundscape at all... But it's not the soundscape that is important; it's the themes and the extraordinary flow of Mozart's melodies, which develop with a fascinating effortlessness within the tight constraints of the music's courtly cadences. It's all so gossamer-fine.
Mühlbacher: The basic difficulty of this undertaking is the fact that W. A. Mozart's music is constantly developing and evolving, never staying in the same place. A big band with soloists, on the other hand, needs a broader musical space to be able to stretch out – especially in the case of improvisation and solos. In this sense, the master did not accommodate us at all. So that's where our job started... We can replicate the broad orchestral string sound to a point with other instruments – except for the danger of running out of breath. But that can be remedied with a synthesiser-type instrument, a guitar or adding some reverb in the mixing process... And we definitely have the rhythmic component in our favour – the groove factor!
What Mozart clichés – musical or personal – bother you most?
Cech: Mozart's time was a period when the music was forever leading into cadences, and that's tough for someone as counterpoint-oriented as me. There's nothing about Mozart as a person that bothers me. I think he was a likeable, humorous, lively person, but probably that in itself is a cliché... What bothers me about the whole Mozart hubbub is that he is the "consensus composer": even boring, unmusical, BMW-driving manager types and their pearl-draped women love Mozart's music and find it so wonderfully soothing.
Mühlbacher: It bothers me that a genius of this calibre ended up in a pauper's grave. Not that I think he would be more comfortable in a different one – it just tells us that he couldn't really make a decent living from his music. And now it's being flogged so mercilessly that it can make you sick!
Kronreif: Bothersome are Mozart's melodies and musical quotations in a condensed form – especially prevalent in Salzburg but also widespread in Vienna – during the season of the Japanese tourists. But it's not the fault of the Japanese... Furthermore, despite the millions spent on tourism, the legacy of Mozart is unfortunately not that people in Salzburg are – or are able to become – especially musical or artistic. Millions for tourism instead of a cultural heritage. And in summer, when I see all the faux Wolfgangs standing around in the downtown areas of Vienna and Salzburg, grovelling in front of all the tourists, I sometimes have to cry – or laugh. But it's their own fault if they go along with it...
Do you like Mozart Kugeln?
Cech: Yes, of course – damn – where can I get my hands on one now.....
Mühlbacher: Sure! But a single one seems to take care of my sugar needs for a while...
Kronreif: I grew up practically next door to the original factory. They're a bit cheaper there...
What should Austria do in order to transport Mozart – and not just a caricature suitable for tourism purposes?
Cech: Get Mozart out of all the shops and go easy on performing his music for a while. The Salzburg Festival should consist only of music composed after 1945.
Mühlbacher: Produce CDs like this one!
There's Mozart and Falco, but who is missing as a true Austrian music star?
Cech: My star is Schubert.
Mühlbacher: ?
Kronreif: There's too much creative potential for just one name!
Do you have one favourite Mozart work you would take with you to a desert island?
Cech: If I could take something with me to a desert island, it certainly wouldn't be a CD player. I would take a musical clock with "Eine Kleine Nachtmusik" and spend years training a monkey to operate it while giving me a light.
Mühlbacher: The "Requiem".
Kronreif: That's difficult, like with a lot of the great masters. Every work has passages that make it a favourite.
lineup
Sascha Otto – flute, alto flute
Clemens Salesny – alto saxophone, clarinet
Romed Hopfgartner – soprano saxophone, alto saxophone, clarinet
Christian Kronreif – tenor saxophone
Manfred Balasch –tenor saxophone, flute, bass clarinet
Bernhard Brunmair – baritone saxophone, clarinet
Christoph Walder – french horn
Balduin Wetter – french horn
Aneel Soomary – trumpet
Andi Pranzl – trumpet
Martin Ohrwalder – trumpet
Walter Fend – trumpet
Gerd Rahstorfer – trumpet
Werner Wurm – trombone
Martin Ptak – trombone
Daniel Riegler – trombone
Charly Wagner – bass trombone
Cyriak Jäger – bass trombone, tuba
Hans Georg Gutternigg – tuba, ophikleide
Christoph Cech – piano, composer, arranger
Alex Machacek – guitar
Tibor Kövesdi – electric bass
Raphael Preuschl – double bass
Lukas Knöfler – drums
Christian Mühlbacher – percussion, composer, arranger
Karl Petermichl – electronics
Linda Sharrock - Confessions
(Nominated "record of the year" by the jury of "Hans-Koller-Preis 2005")
tracks
1. Sometimes I Feel Like A Motherless Child
2. Goodbye
3. You Didn't Know Me
4. Sable
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5. Ooh Boy
6. Prayer
7. Clair Obscur
8. Suddenly
9. You Said You Love Me
producer's notes
At the first glance, Linda Sharrockís music might seem shy. No mainstream. But listen again: Beautiful melodies, most sensitive rhythms. A very special pulse. Linda Sharrock has never been a typical singer. Much more she is a great lyricist, captivating her audience with a vocal performance that is unique. The very own aesthetics of a singer/songwriter capable of telling stories in her own, special way.
These "confessions" are beyond time, they are urbane and personal.
Confessions. The "Black Diva" at her best.
lineup
Linda Sharrock
Stephan Oliva
Claude Tchamitchian