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Konrad, Bernd / Hans Koller Unit: Phonolith (Hatology)

German composer Bernd Konrad masterfully balances composed and improvised parts in these pieces of construction and decay that constantly change texture.

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product information:

UPC: 752156052029

Label: Hatology
Catalog ID: Hatology520
Squidco Product Code: 18470

Format: CD
Condition: New
Released: 2000
Country: Switzerland
Packaging: Cardstock 3 page foldover
Recorded by Johannes Wohlleben at Tonstudio Zuckerfabrik, Stuttgart on March 12th, 1980. Recorded by Johannes Wohlleben atBauer Studios, Ludwigsburg in 1994.


Bernd Konrad-baritone saxophone

Hans Koller-tenor saxophone

Ekkehart Rossle-tenor saxophone

Kenny Wheeler-trumpet

Herbert Joos-trumpet

Paul Schwarz-piano

Thomas Heidepriem-doublebass

Pierre Favre-drums

Michael Kersting-drums

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Artist Biographies:

"Kenneth Vincent John Wheeler, OC (14 January 1930 - 18 September 2014) was a Canadian composer and trumpet and flugelhorn player, based in the U.K. from the 1950s onwards.

Most of his performances were rooted in jazz, but he was also active in free improvisation and occasionally contributed to rock music recordings. Wheeler wrote over one hundred compositions and was a skilled arranger for small groups and large ensembles.

Wheeler was the patron of the Royal Academy Junior Jazz course.

Wheeler was born in Toronto, Ontario, on 14 January 1930. Growing up in Toronto, he began playing cornet at age 12, and became interested in jazz in his mid-teens. Wheeler spent a year studying composition at the Royal Conservatory in Toronto in 1950. In 1952 he moved to Britain. He found his way into the London jazz scene of the time, playing in groups led by Tommy Whittle, Tubby Hayes, and Ronnie Scott.

In the late 1950s, he was a member of Buddy Featherstonhaugh's quintet together with Bobby Wellins. Throughout the sixties, he worked with John Dankworth, and also formed part of (Eric Burdon and) the Animals' Big Band that made its only public appearance at the 5th Annual British Jazz & Blues Festival in Richmond (1965) with tenors Stan Robinson, Dick Morrissey and Al Gay, baritone sax Paul Carroll, and fellow trumpets Ian Carr and Greg Brown. In 1968, Wheeler appeared on guitarist Terry Smith's first solo album, Fall Out.

Wheeler performed and recorded his own compositions with large jazz ensembles throughout his career, beginning with the first album under his own name, Windmill Tilter (1969), recorded with the John Dankworth band. A CD was released by BGO Records in September 2010. The big band album Song for Someone (1973) fused Wheeler's characteristic orchestral writing with passages of free improvisation provided by musicians such as Evan Parker and Derek Bailey, and was also named Album of the Year by Melody Maker magazine in 1975. It has subsequently been reissued on CD by Parker's Psi label.

In the mid-1960s, Wheeler became a close participant in the nascent free improvisation movement in London, playing with John Stevens Parker, the Spontaneous Music Ensemble and the Globe Unity Orchestra. Despite the above-noted accomplishments, much of his reputation rests on his work with smaller jazz groups. Wheeler's first small group recordings to gain significant critical attention were Gnu High (1975) and Deer Wan (1977), both for the ECM label (Gnu High is one of the few albums to feature Keith Jarrett as a sideman since his tenure with Charles Lloyd). One exception from the ongoing collaboration with ECM was his rare album on CBC called Ensemble Fusionaire in 1976. This had three other Canadian musicians and was recorded in St. Mary's Church in Toronto for a different character to the sound than on the ECM recordings.

Wheeler was the trumpet player in the Anthony Braxton Quartet from 1971 to 1976, and from 1977 he was also a member of the chamber jazz group Azimuth (with John Taylor and Norma Winstone).Later life

In 1997 Wheeler received widespread critical praise for his album Angel Song, which featured an unusual "drummerless" quartet of Bill Frisell (guitar), Dave Holland (bass) and Lee Konitz (alto sax).

Wheeler died after a short period of frail health at a nursing home in London on 18 September 2014. He was 84 years old."

-Wikipedia (

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"Herbert Joos ([ˈhɛʁbɛʁt ˈjoːs]; 21 March 1940 - 7 December 2019) was a German jazz trumpeter, flugelhornist and graphic designer. He made recordings solo and in groups, especially with the Vienna Art Orchestra. In 2017, he received the Jazzpreis Baden-Württemberg for his life's work.

Born in Karlsruhe, Joos learned trumpet first by self-study and then by a private teacher. He studied double bass from 1958, but then turned to flugelhorn, baritone horn, mellophone, and alphorn. Since the mid-1960s, he has been a member of Modern Jazz quintet Karlsruhe, from which the group Fourmenonly was created (with Wilfried Eichhorn and Rudolf Theilmann [de]). Afterward, he was a member of various modern and free jazz formations (with Bernd Konrad [de], Hans Koller, Adelhard Roidinger and Jürgen Wuchner [de] among others). He played at festivals and in the Free Jazz Meeting Baden-Baden [de] of the SWF at a flugelhorn workshop with Kenny Wheeler, Ian Carr, Harry Beckett and Ack van Rooyen and made a name for himself with his solo recording, The Philosophy of the Flugelhorn in 1973. He also led his own wind trio, quartet and orchestra. He achieved more recognition in the 1980s as a member of the Vienna Art Orchestra, which he influenced. Since the 1990s he has participated in the SüdPool project. He has appeared as a duo with Frank Kuruc [de] as well as in Patrick Bebelaar's groups, for Michel Godard, Wolfgang Puschnig, Clemens Salesny [de] and Peter Schindler. He also played with the Orchestre National de France.

In 2017, he was awarded the Jazzpreis Baden-Württemberg [de] for his life's work. Instead of a speech after the laudations, he thanked in a short phrase, and played a concert with an orchestra of 16. He also produced drawings, book illustrations and paintings.

Herbert Joos died on 7 December 2019 after surgery in a Baden-Baden hospital."

-Wikipedia (

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Pierre Favre is a Swiss jazz drummer and percussionist, born 2 June 1937 in Le Locle, Switzerland.

"When Pierre Favre began to explore new worlds of sound in drumming in the 1960s, he had already played with many internationally renowned Europeans and Americans as well as with prominent big bands. But it pushed him to an independent music. It all started in a trio with bassist George Mraz, then with Peter Kowald on double bass and from the start with Irene Schweizer on piano. "It is," says Pierre Favre, "a stroke of luck in a long, independent and yet joint development.

Searching for the melodic aspects of drums and percussion, Pierre Favre found his way to the solo. Together with Paul Motian, Fredy Studer and Nana Vasconcelos, he formed a percussion ensemble that increased the orchestral possibilities of percussive solo playing. "Singing Drums", a quartet with four percussionists, underwent a further transformation in the form of The "European Chamber Ensemble", a line-up with two percussionists, horns and strings.

In 2004, the city of Zurich honored Pierre Favre with the city's art prize."-Bert Noglik, Pierre Favre website

-Pierre Favre Website (

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:

1. Phonolith 1 8:10

2. Traumtanzer 5:05

3. Nordlicht 5:00

4. Aufwartsregen 11:23

5. Jeannerette 7:52

6. Lush Life 3:15

7. Sleepwalk 2:49

8. Phonolith 2 10:06
sample the album:

descriptions, reviews, &c.

"The meaning of the word "phonolith" is sound stone, and though I've never to my knowledge tried the sound of a phonolith, it seems an apt word to describe the structure of this composition. ... Konrad's composition creates a masterful balance of composed and improvised parts. This is not about the loneliness of the soloist (they are not left alone in their a capella parts, and in the second version, there are duos anyway), it is about the constant change of texture, about construction and decay, about what we used to call deconstruction. The soundness of this stone, if you pardon the pun, is incredible."—Stephan Richter

Related Categories of Interest:

Improvised Music
Hat Art

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