"Austrian trumpeter Franz Koglmann (1947) debuted in the 1970s. Bill Dixon's Opium contained the 17-minute For Franz (august 1976) performed by a quintet with two trumpets (Dixon and Koglmann), tenor saxophone, bass (Alan Silva) and percussion. The rest of the album (recorded between december 1975 and november 1976), contains compositions by Koglmann and features Franz Koglmann on flugelhorn and Steve Lacy on soprano sax except one piece that is an early electronic experiment with Gerd Geier on computer and Toni Michlmayr on bass.

Koglmann founded the Chamber Jazz Emsembles Pipetet that debuted with Schlaf Schlemmer Schlaf Magritte (december 1984), a vehicle for his brainy scores that embedded everything from Arnold Schoenberg's dodecaphony to swing to free jazz, all done with a Dadaist attitude worthy of Pere Ubu (notably in the four-movement Tanzmusick Fuer Paszstueckem). Evolving through fragmented albums such as Ich (october 1986), his manyfold art of composition and deconstruction bloomed on the nine-movement suite The Use of Memory (october 1990), almost a colossal compendium of 20th century music.

Orte Der Geometrie (november 1988) featured alto saxophonist Guillermo Gregorio, soprano saxophonist Roberto Ottaviano, Jean-Christophe Mastnak on French horn, bassist Klaus Koch, trombonist Rudolf Ruschel, tuba player Raoul Herget, clarinetist Martin Schelling, pianists Ran Blake and Robert Michael Weiss, oboe player Mario Arcari, guitarist Burkhard Stangl, drummer Fritz Hauser, and "conductor" Gustav Bauer.

A White Line (november 1989) was a collaboration with an ensemble conducted by Gustav Bauwer: Jean-Christoph Mastnak (flugelhorn), Raoul Herget (tuba), Mario Arcari (oboe), Tony Coe (clarinet and tenor sax), Helmut Federle (accordion), Paul Bley (piano), Burkhard Stangl (guitar), Klaus Koch (bass), and Gerry Hemingway (drums).

A theorist not so much of post-modern but of post-classical music, Koglmann continued to rehearse a cryptic vision of music on albums such as L'Heure Bleue (april 1991) only to unleash another massive, powerful reconceptualization of the century's music with Cantos I-IV (october 1992) for orchestrated improvisers. Koglmann had coined a moving music of contradictions, misunderstandings and, ultimately, of mistakes. His monumental and demented synthesis of improvised and composed music continued on O Moon My Pin Up (march 1997), explicitly dedicated to poet Ezra Pound. After Make Believe (november 1998) for a quintet, he also ventured outside chamber music with the electroacoustic opera Fear Death By Water (march 2003) and the "imaginary play" Let's Make Love (september 2004). One of the greatest composers of his generation, Koglmann metabolized the past in order to create the future.

Lo-lee-ta (2009) was inspired by Vladimir Nabokov's texts and performed by the Monoblue Quartet (Tony Coe on clarinet/alto saxophone, Ed Renshaw on guitar, Peter Herbert on bass).

Join! (Orf, 2014), the first album in five years, is a sci-fi opera, premiered in may 2013, for seven opera singers and a chamber ensemble.

G(ood)luck (april 2015) documents a trio with Mario Arcari on English horn and oboe, and Attila Pasztor on cello."

-Scaruffi (https://www.scaruffi.com/jazz/koglmann.html)
4/19/2021

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"John Clark is an American jazz horn player and composer.

John Clark was born in Brooklyn and grew up in Rochester, New York. In 1966 he received a B.A.from the University of Rochester, where he also studied horn with Verne Reynolds at the Eastman School of Music. From 1967 until 1971 he played in the United States Coast Guard Band. Clark received a M.M. degree (with honors) from the New England Conservatory of Music in 1973. He studied composition and improvisation with Jaki Byard, Ran Blake, and George Russell; and horn with James Stagliano, Thomas Newell, and Paul Ingraham. In 1991 he received a patent for the "hornette," an instrument with the same range as a French Horn but with a forward-facing bell for greater projection. He taught at the State University of New York at Purchase from 2001 until 2008, subsequently moving to faculty at Manhattan School of Music.

Clark has performed or recorded with a wide variety of musicians, including in jazz: Gary Bartz, Carla Bley, Ornette Coleman, Gil Evans, John Faddis, Johnny Griffin, Dave Grusin, Jerome Harris, Jim Hall, Jimmy Heath, Anthony Jackson, Leroy Jenkins, Howard Johnson, Oliver Lake, Joe Lovano, Pat Metheny, Grachan Moncur, Gerry Mulligan, Jaco Pastorius, Rachel Z, Paquito D'Rivera, Mike Richmond, John Scofield, Frank Sinatra, Lew Soloff, Spyro Gyra, David Taylor, Toots Thielemans, the Turtle Island String Quartet, McCoy Tyner, Glen Velez, Paul Winter Consort, Akiko Yano, and the Jazz at Lincoln Center Orchestra.

Outside of jazz, he has worked with the Aspen Wind Quintet, Ashford and Simpson, the Brooklyn Philharmonic, the Fugees, Isaac Hayes, Billy Joel, B. B. King, LL Cool J, Joni Mitchell, Linda Ronstadt, Diana Ross, Carly Simon, Sting, Speculum Musicae, and the Trans-Siberian Orchestra.

He has performed as a studio musician for many films, including Mission to Mars, Fargo, and Pocahontas."

-Wikipedia (https://en.wikipedia.org/wiki/John_Clark_(musician))
4/19/2021

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"The considerable variety of his interests and artistic experiences, his versatility as far as his professional and teaching commitments are concerned, together with his sound academic background have made Mario Arcari into a very special musician on the Italian scene.

After having completed his studies (in 1977 he graduated in Oboe from the G. Verdi Conservatory in Milan with Maestro Visai), and his first engagements in symphonic and operatic orchestras (at RAI, Pomeriggi Musicali, Angelicum, and Orchestra Regionale delle Marche), he began to patronize different musical milieus: from refined avant-garde to jazz, from folk music to songwriting, and as a composer of soundtracks for plays and ballet, into a flow of artistic partnerships and significant encounters that have led him to play the clarinet, the saxophone, the piano, recorders and countless other wind instruments coming from all over the world in addition to the oboe and the English horn. In the '80s he was a member of one of the first "heterodox" Italian jazz orchestras, Dino Mariani's DOM, of G. Mazzon's Gruppo Contemporaneo, and of R. Ottaviano's "Six Mobiles".

Since 1986 he has been part of every artistic production by Franz Kolgmann's "Pipetett" in Vienna along with musicians like Paul Bley, Steve Lacy, Ran Blake, Tony Coe, Barre Philips, Radu Malfatti, and Phil Minton,Butch Morris, Guus Janssen, Ernst Reijseger and Gerry Hemingway a.o. He's active also as classical player in chamber-music ensembles performing music by Louis Andriessen, Steve Reich, Giorgio Battistelli, Piero Milesi, Pietro Pirelli for "Nuova Consonanza", "Ars Ludi" and "Sentieri Selvaggi" in a number of concerts.

He has taken part in some of the most important Italian pop artists' recordings and tours: Fabrizio De Andrè, Ivano Fossati, Vinicio Capossela, Fiorella Mannoia, Gino Paoli, Massimo Ranieri and Tosca and many others. His research concerning folk music made him play with names like Moni Ovadia, Mauro Pagani, Demetrio Stratos, Teresa de Sio, AREA, Canzoniere del Lazio, and PFM. He has held Master's Degree lectures on the "Third Stream" at the Conservatory of Brescia, at the Conservatory of Fermo, at the Conservatory of Piacenza, and at Liceo Musicale in Parma."

-Amirani Records (https://www.amiranirecords.com/artists/marioarcari)
4/19/2021

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"Saxophonist Daniele D'Agaro sounds like a natural match for great expat bebop trumpeter Benny Bailey on their 1999 album, Hidden Treasures (Nota). The two recorded nine rare compositions by saxophonist Don Byas; D'Agaro does an excellent job evoking the full-bodied tenor sound of the 40s and 50s, even as the swift rhythm section--including drummer Han Bennink--helps ground the music in the here and now. But that's just one trick in D'Agaro's bottomless bag. Gentle Ben, recorded with American bassist Mark Helias and Italian drummer Umberto Trombetta "Gandhi" and released the same year on the same label, includes a traditional Portuguese tune, a version of Monk's "Four in One," and a slew of catchy originals, all of which demonstrate D'Agaro's equal ease with playing straight and playing out there. Born in 1958 in Udine, Italy, near the Slovenian border, D'Agaro discovered jazz and improvised music in his teens, and before long he was working with Italian avant-gardist Andrea Centazzo. In addition to the tenor, he plays the clarinet, an instrument that lets him reveal his heritage in a folksy, melodic style. In 1983 he moved to Amsterdam, where he formed the trio Lingua Franca with cellist Tristan Honsinger and bassist Ernst Glerum; the group has done everything from interpreting Italian folk tunes to collaborating with a Senegalese singer. He returned to Udine in 1996, where he now leads, among other projects, the trio with Helias and Trombetta. For his Chicago debut D'Agaro will be joined by trombonist Jeb Bishop, bassist Kent Kessler, and drummer Tim Daisy; they'll improvise for most of the show, but reportedly they might throw in a Byas tune or two. Wednesday, July 18, 7 PM, Empty Bottle, 1035 N. Western; 773-276-3600."

-Chicago Reader (https://www.chicagoreader.com/chicago/daniele-dagaro/Content?oid=905897)
4/19/2021

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"Milan Turkovic originates from an Austro-Croatian family, grew up in Vienna and became internationally known as one of the few bassoon soloists. Over the past two decades, he has become a most successful conductor, making appearances all over the world.

Turkovic has conducted in Vienna, Salzburg, Graz, Milan, Venice, Florence, Rome, London, Berlin, Dresden, Munich, Prague, Krakow, Bratislava, Munich, New York, Tokyo, Nagoya, Osaka, Sao Paulo, Rio de Janeiro, Buenos Aires, Lima, Santiago de Chile and Brisbane with orchestras such as the Vienna Symphony, the Vienna Radio Symphony, Munich Radio Orchestra, Camerata Salzburg, the Orchestra di Padova, The Rome Symphony Orchestra, the Orchestra Sinfonica G. Verdi of Milan, the Krakow Philharmonic, the Tokyo Metropolitan Symphony Orchestra, the Nagoya Philharmonic, the National Orchestra of Taiwan, the Prague Philharmonia, the Istanbul State Symphony Orchestra and the Austro-Hungarian-Philharmonic. The important Japanese music magazine "Ongaku No Tomo" listed him in a shortlist as one of the twenty most interesting conductors in the Tokyo music scene. A recipient of the Edison Award, he also received the German "Echo Klassik" Award in 2010. He regulary acts as a principal conductor at the Japanese Festival of Kusatsu. Turkovic has worked with the soloists Mischa Maisky, Jan Vogler, Benjamin Schmid, Vadim Repin, Georg Breinschmid, Michael Schade, Xavier de Maistre, Gábor Boldoczki, Sergei Nakariakov, Sara Mingardo, Lise de la Salle and many others.

His discography currently consists of 9 CDs as a conductor, 15 CDs with solo repertoire, 26 CDs with chamber music and over 200 CDs with Concentus Musicus. He has recorded the Mozart bassoon concerto four times; his third recording was performed on a period instrument, with Nikolaus Harnoncourt conducting. Other releases include the concerti by C.M.v. Weber (with Marriner), the quintet for bassoon and strings "Meeelaan" by Wynton Marsalis and a double CD "Bassoon Extravaganza". On his most recent CDs he conducted three symphonies by J. Haydn and two CDs with the German Ensemble Selmer Saxharmonic (Echo Klassik award in 2010).

As a soloist Milan Turkovic has performed at numerous musical centers of the world with renowned orchestras (i.e.Vienna Symphony, Stockholm Philharmonic, Bamberg Symphony, The Stuttgart Chamber Orchestra, Munich Philharmonic, I Solisti Italiani, Orchestre de la Suisse Romande, Camerata Salzburg, Chicago Symphony Orchestra, Saint Louis Symphony Orchestra, Mostly Mozart Festival Orchestra (New York), The English Concert, NHK Symphony Orchestra (Tokyo) and the F. Liszt Chamber Orchestra (Budapest). He has worked with such conductors as Eschenbach, Giulini, Harnoncourt, Marriner, Pinnock, Sawallisch, Stein, Vegh among others. Turkovic was a member of Concentus Musicus Wien, of Chamber Music Society of Lincoln Center and a founding member of Ensemble Wien-Berlin.

Milan Turkovic has appeared at important festivals all over the world, including Salzburg, Vienna, Lucerne, Lockenhaus, Prades, Prague, New York Santa Fe, Portland, Osaka, Sapporo, Kusatsu. After a tour with trumpeter Wynton Marsalis in 1998. Mr. Marsalis dedicated the quintet "Meeelaan" for bassoon and string quartet to Milan Turkovic, which was subsequently performed by Turkovic all over the world. Turkovic has performed numerous premiere performances, including works by Jean Francaix, Sofia Gubaidulina, Ivan Eröd, Rainer Bischof and Thomas Daniel Schlee."

-Milan Turkovic Website (https://www.milanturkovic.com/biography.html)
4/19/2021

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"Sometimes it's simply adverse circumstances that prevent a world career. Attila Pasztor scored points in the Semi-finals of the 1994 Tchaikowsky Competition and his performance had already been broadcast on television and radio, when the jury was so frayed that the contest was canceled without prizes.

Attila Pasztor, winner of numerous other awards and competitions (including the "Vienna Philharmonic" award, 1 prize at the "International Chamber Music Festival Austria, 1st prize in the international competition in Liezen, 1st prize at the Bayreuth international music competition) fulfills this prototype Image of a versatile talent, which gives him the ability to look at the works from the most diverse points of view.

In addition to his numerous international appearances as a soloist and sought-after chamber musician in Europe, Asia, South America, and the USA, among others at the Wiener Festwochen, the Carinthian Summer, the Schubert Festival Warsaw, the Music Festival in Havana, and the Festival Emäsalo in Finland he also succeeded as a composer of chamber music and film music. In addition, he worked in collaboration with renowned violin makers with the sound optimization of stringed instruments. He has also been working as a product manager at the traditional Viennese company Thomastik-Infeld since 2017, where he is instrumental in the development of new strings.

The fact that he also took a law degree next to it, fits into the picture. ( I almost finished the studies- two exams missing, don´t know how to formulate it in english) In addition to his studies at the Vienna University of Music under Wolfgang Herzer and Tobias Kühne, he was trained as a soloist for six years by his legendary cellist Daniel Schafran. Pasztor plays a cello by Carlo Giuseppe Testore from 1697."

-Attila Pasztor Website (https://www.attilapasztor.com/about-me/)
4/19/2021

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"Peter Herbert: Born Leap Day of 1960 in Bludenz, AustriaBassist Peter Herbert has been living in Paris since 2003 (in New York from 1989-2003) and leads a busy schedule with an average of 100 concerts annually performing throughout the world.Trained as a classical pianist/bassist, after years of successful 'main stream' jazz activities, he is now developing his own voice in the field of improvised music. Recent activities include solo concerts, in 2002 in New York (Glassfarm), London (The Vortex), Moscow (The Dome), Vienna (Porgy&Bess), a.m.o. (CD: 'Naked Bass' ) and a focus on small ensembles like his duos with David Tronzo (CD: Segmente, AZM 1001), Carol Robinson (bass-clarinette/electronics) or his Parisian Trio with Jean-Charles Richard (sax) and Christophe Marguet(dr), He is also involved in arabic music with artists like oud-master Marcel Khalife or Simon Shaheen.Herbert is also a prolific and versatile composer, mostly commissioned by European orchestras and ensembles. He has written for orchestras, choirs and chamber groups, designed experimental movie soundtracks and incidental music for European avant-garde theatre groups (Cd:Aktionstheater Ensemble 2000 music for theater, AZM 102).As a Jazz musician, he has worked with many artists and groups such as the John Abercrombie/Marc Copland Quartet, Bobby Previte's "The Horse", John Clark Octet, Art Farmer and Woody Shaw. His work has been well documented on over 120 recordings (please see COMPLETE DISCOGRAPHY).Herbert was recently awarded the Hans Koller-prize as 'musician of the year' This prize is given to a jury chosen person, who had 'significant impact on the Austrian music scene for a long time'. He also established his own internet-based label Aziza Music in 1999."-Aziza Music (http://www.azizamusic.com/bio.html)
4/19/2021

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