Much needed reissue of the incredible Vienna Art Orchestra directed by Mathias Ruegg performing live in Switzerland, 1985; commanding orchestral jazz thoroughly modern 30 years hence.
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Catalog ID: Hatology679
Squidco Product Code: 12647
Packaging: Cardstock Gatefold Sleeve 3 panels
Recorded live May 17 & 18, 1985 at Muhle Huzigen, Rubigen, Switzerland by Peter Pfister. 3rd edition, originally released in 1985.
Hannes Kottek, Karl Fian, Herbert Joos-trumpet, flugelhorn
Wolfgang Puschnig-alto sax, soprano piccolo, flute
Harry Sokal-soprano sax, tenor sax, flute
Roman Schwaller-tenor sax
Wolfgang Reisinger-percussion, drums
Joris Dudli-drums, percussion
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• Show Bio for Lauren Newton
"Born in Coos Bay, Oregon, U.S.A. She received the Bachelor of Music degree in 1975 from the University of Oregon and in 1977 a degree in Vocal Performance from the School of Music in Stuttgart, Germany.
She has performed 20th century music as well as works written especially for her by composers A. Hölszky, B.Konrad, W.Dauner,H.J.Hespos, H.Zerbe and others. She was singer with the "Vienna Art Orchestra" from 1979 to 1990(20 LP/CDs). Her first solo LP "Timbre" received the annual German Critics Award in 1983 and was again released in´98 as a CD under the title "Filigree". Tours and CD recordings with Vocal Summit with B.McFerrin, J. Lee, J.Clayton and U. Dudziak. She composed music for the Freiburg Theater in Germany, and Burg Theater in Vienna, Austria, for radio-plays (german, swiss and austrian radios) and for film, acting and singing in all of these as well. She performed with austrian poet Ernst Jandl from 1983 until 1999. Since 1990 she performs with the vocal quartet "Timbre", since 1995 with Joëlle Léandre(b), Fritz Hauser (dr), Urs Leimgruber(s), and Heiri Känzig,(b). Diverse music projects, concerts, radio and cd recordings with Jon Rose (v/comp), Hannes Zerbe (p/comp), Patrick Scheyder (p), Vladimir Tarasov (dr), Joachim Kuehn(p), Aki Takase(p), Anthony Braxton (sax/fl/comp) and the European Chaos String Quintet as well as performances with artist, Koho Mori. She has done commissioned works, radio plays and has sung as soloist in performance art projects as well as in collaboration with various dancers.
Since 1974 she travels extensively with different groups performing at most of the reknowned music festivals in Europe, Russia, USA, Canada and parts of Africa. Since 1982 she continues to sing in Japan in concerts and recordings with different japanese artists. She lives in Germany since 1974."-Lauren Newton Website (http://www.laurennewton.com/en/index.htm)
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1. Sighs From South-Carinthia 11:01
2. Woodworms In The Roots 8:42
3. Voices Without Words 5:26
4. Life At The Dead Sea 9:46
5. Lady Delay 9:27
6. Romana 6:04
7. A Natural Sound 3:13
8. Round Midnight 8:38
9. French Alphorn 8:53
10. H. M. Blues 5:28
sample the album:
"A live recording by the Vienna Art Orchestra is always an event. A band this well rehearsed performing in the controlled environs of the studio, where multiple takes and overdubs are standard practice in order to realize "perfection," are, sadly, standardized "business" practices. But on the road, the Vienna Art Orchestra show just how well rehearsed they are in all the unusual ways. Certainly they play Mathias Rüegg's compositions and charts with precision and feeling, but more than that, they take them in, each member realizing the composition as a part of a musical whole that carries within it the entire history of jazz, but also the playfulness of the sports music of Erik Satie and the European circuses that instill wonder as well as laughter in the hearts of viewers.
And the Vienna Art Orchestra is a circus in the same way that the Duke Ellington Orchestra was a circus: a survival unit built for the road and any circumstance it might encounter. There are obvious parallels here: Hannes Kottek's Cat Anderson feel in his solos, smattering notes like jelly on bread; Herbert Joos, emulating the playful tender spirit of Cootie Williams; and Roman Schwaller's empathetic Johnny Hodges read. But Rüegg is not merely imitating Ellington's verve and spirit, he is extending it to move through the end of the 20th century and encompass all that jazz has brought to the fore since Ellington's passing in the '70s. The other part, as a composer, is a composer in a league of his own; one listen to the brassy stomp of "Sights From South Carolina" with Wolfgang Pusching's saxophone solos carrying on in the whirlwind takes the breath away.
Lauren Newton's careening croon in "Lady Delay" matches the timbral balance of the orchestra pitch for pitch in an off-meter dance to the death. And then there's the perversity factor on "French Alphorn" with Joos playing the ancient alp instrument that is longer than a pair of stacked refrigerators. It's a grandfather to the trumpet with a limited range that resonates only in overtone settings. With Harry Sokal's soprano sax playing foil, the Alphorn playing it's deep, muted jazz and attempting to squeal through notes it can't reach, it sounds like the Dorsey Brothers trying to get it on with "C-Jam Blues." But the most notable thing abut the Vienna Art Orchestra is its stage presence: Rüegg knows how to create drama and surprise and his musicians are more than up to the challenge, clearly delighting themselves in the process. A Notion in Perpetual Motion is as close to a "perfect" live recording of the VAO as you are likely to find."-Thom Jurek, All Music
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