Sunday, December 31, 2017
VIENNA ART ORCHESTRA – Suite For The Green Eighties 2LP 1982
VIENNA ART ORCHESTRA – Suite For The Green Eighties 2LP 1982
Label: Hat Hut Records � Hat Art 1991/92
Format: 2 � Vinyl, LP, Album, Box Set / Country: Switzerland / Released: 1982
Style: Free Jazz, Contemporary Jazz, Free Improvisation
Track A1 on June 15, 1981, at Thalwil Gemeindehaussaal
Track A2 on October 29, 1981, at Bern Restaurant Schweizerbund
Track B1 on October 28, 1981 at Geneve New Morning
All other on October 30, 1981 at Z�rich Bazillus
Cover art by � Klaus Baumg�rtner
Photos by � Heinz Heinrich Stoller
Packaging concept by Werner X. Uehlinger
Recorded by � Peter Pfister
Mixed and edited by � Peter Pfister, Mathias R�egg and Werner X. Uehlinger
Produced by Pia and Werner X. Uehlinger
A1 - Haluk ...................................................................................... 14:05
A2 - Pl�doyer For Sir Major Moll ..................................................... 6:10
B1 - Nanan Nz Gang ..................................................................... 11:10
B2- Blue For Two ............................................................................ 6:15
C1- Suite For The Green Eighties Part I ....................................... 11:25
C2 - Suite For The Green Eighties Part II ........................................4:05
D1 - Suite For The Green Eighties Part III ...................................... 7:50
D2 - Suite For The Green Eighties Part IV ...................................... 8:00
D3- Suite For The Green Eighties Part V ....................................... 5:45
Orchestra:
Lauren Newton � voice
Karl Fian � trumpet
Herbert Joos � flugelhorn, baritonhorn, double trumpet, alpenhorn
Christian Radovan � trombone
Billy Fuchs � tuba
Harry Sokal � soprano sax, tenor sax, flute
Wolfgang Puschnig � alto sax, bass clarinet, piccolo flute
Ingo Morgana � tenor sax
Woody Schabata � vibes, marimba, tablas
Uli Scherer � pianos, melodica
J�rgen Wuchner � bass
Wolfgang Reisinger � percussion, drums, paiste gongs
Janusz Stefanski � drums, percussion
Mathias R�egg � leader, composer, arranger
It might as well be said now so the hate mail can flow fast and free: I happen to agree with music critic/composer and historian Art Lange that Mathias R�egg, leader, composer, director, etc., of the Vienna Art Orchestra is, without question, Europes answer to Duke Ellington at the end of the 20th century, though he clearly isnt yet in Ellingtons league. With Suite for the Green Eighties, a work inspired in equal parts by the gaining of popularity and power by the Green Party in Germany, Austria, and elsewhere in Europe, and also by the classic book by Charles Reich called The Greening of America, the five-part work is a crosshatch of jazz, blues, circus music, postmodern harmonic and intervallic invention, and dance music (as in ballet). The temptation to call it a pastiche is too easy to drape over this mammoth construction of color and texture in sound.
Before this suite begins -- and it is actually more like a symphony than a jazz suite -- there are three R�egg compositions that set the audience up for the drama. There is the New Orleans jazz-flavored "Haluk," with its riveting soprano solo by Harry Sokal; the glorious Gil Evans-ish "Pl�daoyer for Sir Mayor Moll," with its elegant quotation from "I Only Have Eyes for You," and microtonal fl�gelhorn solo by Herbert Joos, which turns the piece inside out and makes it a modal meditation on minor sevenths; and the woolly "Nanan NZ Gang," which sounds -- in its opening measures -- like it was written in the medina in Morocco or Algeria. It eventually evolves into a post-bop modal stomp with a killer alto sax break from Wolfgang Puschnig. When the "Suite" finally begins, listeners are almost taken off guard since it sounds like a coda. Before the vibes and trumpets go into a dance of intricate counterpoint, the band plays "fliessend," smoothly and evenly, and the movement becomes almost contemplative, with the exception of the two contrapuntal instruments now playing in restrained tones. As the bop horn lines state the theme for the rest of the suite, short, choppy interludes of dissonance and even sets of quiet tone rows are inserted into the melody! R�eggs harmonic sensibility is so developed that he has no difficulties in traversing isorhythms to get to his desired place. By the time the last movement is reached, one would swear that all elegiac notions have been left behind in order to join Buddy Rich and Count Basie in a Kansas City block party. Swinging brass, jump-start rhythms, and angular solos carry the joyous suite to its impossible ending -- in the quiet of the evening with only the feeling that something new is possible for the first time in a long, long while. (_Review by Thom Jurek)
If you find it, buy this album!
