samstag 11 . oktober 21 h 30

schloss kittsee

"three in one"
georg gräwe's "rememberance"

teil 1:
georg gräwe solo

- pause - (wein & buffet)

teil 2:
georg gräwe 3
georg gräwe, klavier
burkhard stangl, gitarre
martin blume, schlagzeug

- pause - (wein & buffet)

teil 3: georg gräwe 3
georg gräwe, klavier
james lewis, kontrabass
paul lovens, schlagzeug

georg graewe, seit einigen jahren wahl-nickelsdorfer, zumindest den ganzen sommer hindurch möchte sich wieder für einige zeit verabschieden und ladet zu einer abschluss-veranstaltung in das schöne ambiente, des schloss kittsee ein. voriges jahr verzauberte er uns mit einem brillanten und reifen solo set, dieses jahr hat er einige wunderbare musiker/freunde eingeladen, so dass einem konzerterlebnis der besonderen art nichts im wege steht. wer nicht kommt ist selber schuld und versäumt einiges.
2 trios ähnlich in der konzeption, jeweil mit schlagzeug und einem saiteninstrument doch in der ausführung werden die musikalischen schienenstränge so weit auseinander laufen, wie es nur in der improvisierten musik möglich ist, wo die individualität der ausübenden voll zum tragen kommt und so die magie der musik erst wirklich "in the moment" entstehen lässt.
burkhard stangl- ausnahme gitarrist aus wien. arbeitet mit christof kurzmann, werner dafeldecker, christian fennesz, radu malfatti, annette krebs, andrea neumann, john butcher jim o rourke, gene coleman u.v.a.
martin blume, schlagzeuger aus bochum spielt seit 1983 freie musik. seine wichtigsten ensembles sind lines mit marcio mattos, phil wachsmann, jim denley,axel dörner, dann das trio axxon mit phil minton und marcio mattos, four in one mit manderscheid, houtkamp und johannes bauer und ein duo mit georg graewe.
james lewis tone is incredible and the dynamic of his phrasing is unique.
"The Ballad or the Bullet?" is dedicated to two American cultural heroes Thelonious Monk and Malcolm X and is Jon Jang's third recording. It is an important effort, being his first fully realized recording with his fifteen month old working group THE 4 IN ONE QUARTET with Francis Wong on tenor saxophone and flute and two of the Bay Area's hardest working rhythm masters James Lewis on bass and Eddie Moore on drums.
paul lovens spielt ein traumhaftes schlagzeug, liebt nette leute und guten wein

(Born 1956), Bochum/Germany has been composing and performing since his mid-teens, and formed his first quintet in 1974. He has consequently been leading a variety of ensembles ranging from trio to chamber orchestra formats, which have involved some of the major soloists in contemporary music. Graewe's compositions, which include works for solo piano, chamber music, and pieces for symphony orchestra, have been performed at major venues throughout the world. His work is documented on about 30 releases on several American and European labels. He has also performed and recorded with Anthony Braxton, Marilyn Crispell, Dave Douglas, Mats Gustafsson, Barry Guy, Joelle Leandre, Paul Lovens, Evan Parker, Barre Phillips, Ken Vandermark, among others. Current projects include the Georg Graewe Quartet with Frank Gratkowski, Kent Kessler and Hamid Drake, Torque with Peter van Bergen and Melvyn Poore, a duo with Sebi Tramontana, as well as a brandnew quartet w/ Peter van Bergen, Barry Guy and Susie Ibarra. Chicago critic John Corbett writes:
German pianist Graewe is one of the most significant voices to emerge on his instrument in the last 20 years. He comes as much out of twentieth-century classical music as jazz, though his outrageous technique and at times explosive touch recall Lennie Tristano or Bud Powell. In his extremely terse trio with Dutch cellist Ernst Reijseger and American percussionist Gerry Hemingway (the pianist's best-documented ensemble), Graewe creates harmonic complexities the likes of which have never been heard in improvised music. Among Graewe's numerous records are intricate large group compositions, stunning solo recitals, and a brand new meeting with reed player Anthony Braxton. In April of 1997, drawn by the intoxicating Chicago free-music scene, Graewe moved to the States and is currently leading several ensembles in the Windy City, including his quartet with Gratkowski, Drake and Kessler.
"Tristano boomed through Georg Graewe's solo set, although in this pianist's case you may suspect the correspondence - an obsession with line - is coincidental. Graewe too is a master of technical details: complex disjunctions of keyboard pull-offs and sustain pedal, superb two-handed articulation of single note lines (side of the left over the fingers of the right).Heritage-wise, Mozart was in there too, and Andrew Hill's radical moment-to-moment shifts in texture, density, register. Still it flows, rhythmically; that's his continuity. What sticks most is his intellectual concentration: with each piece, he creates a world in seconds, explores it a couple of times, then snuffs it."Kevin Whitehead, CODA Magazine issue 264, November/December 1995 "Gifted with a very precise touch and a responsive ear, Graewe plays a highly charged form of free improvisation, combining high-modernist, Darmstadt rigour with the acoustic drama of Chicago Free Jazz."Ben Watson, Hi-Fi News, November 1995 "Koln pianist Georg Graewe's solo improvisations represent a departure from two musical traditions at once: free jazz piano and composed classical piano. In fact, if you didn't know he was improvising, you might think that Graewe was playing European classical music, in which one delicate unit of an idea is played in spurts or pulses, followed by the next.This is the method of his "character pieces" taken from his impressions and memories of European piano music. Rooted in the tonalities of Schoenberg (and perhaps the moods of Satie's "Gymnopaedies"), he formulates his improvised ideas in ephemeral bursts. Rather than using strict tempo boundaries, he spreads them over various durations, which Graewe calls "oscillating rhythmic fields." The very quick process he goes through in tracing these fields and superimposing one on another is nearly invisible, in contrast to improvisers who use much more obvious embellishments and standard logic. For listeners, the greatest charge in Graewe's playing is in hearing the timbre and decay of his phrases, which he compares to prose. At the same time, he treats his instrument like an actor who's playing many characters at once. Within this musical metamorphosis, Graewe has the great facility to use his hands independently, not so much creating the sound of two pianos as building one unified stream of development. The extent to which you can hear the underlying notes in the left hand sliding away while the right moves into a new variation depends on whether you're listening to the two hands independently. It's entirely possible to take another approach by remembering the starting point of the piece, then following where it goes. Whichever way you choose to listen, the pace, delicacy and careful derivation are all strong tenets in this original improviser's philosophy. Mark Lewis, Sidewalk San Diego, February 1998 "Graewe's manner is so quicksilverfast and bright - his phrases sound like fragments flying off some ice sculpture he's chiselling away at ... "Richard Cook, THE WIRE London, 1998 "Precious few pianists, ..., can slip fluid, well-rounded phrases into turbulent staccato rhythms like Graewe. In doing so, Graewe exudes that lionized American essence, rugged individualism." Bill Shoemaker, Damascus , 1998

selected discography
SIX STUDIES (1987) Georg Graewe solo - WestWind 0012
SONGS & VARIATIONS (1988) GrubenKlangOrchester - Hat Art CD 6028
SONIC FICTION (1989) Graewe/Reijseger/Hemingway - Hat Art CD 6043
PIANO DUETS (1991) Marilyn Crispell/Georg Graewe - Leo CD 206/7
ZWEI NAECHTE IN BERLIN (1990) Graewe/Reijseger/Hemingway - Sound Aspects 049
FLAVOURS,FRAGMENTS (1992) GrubenKlangOrchester - ITM Classics 950014
SPELLINGS (1992) Frisque Concordance - RA 001
VICISSETUDES (1992) Gratkowski/Graewe - RA 002
CHAMBER WORKS (1991/92) Graewe&Ensembles - RA 003
POINTS WEST (1991) Graewe/Reijseger/Hemingway - Music & Arts 820
FLEX 27 (1993) Graewe/Reijseger/Hemingway - RA 007
ASSUMPTIONS, zone B (1995) Georg Graewe solo - Okka Disc 12009
DUO, AMSTERDAM (1991) Anthony Braxton/Georg Graewe - Okka Disc 12018
CONCERT SAN FRANCISCO (1995) Georg Graewe solo - Music & Arts 968
SATURN CYCLE (1994) Graewe/Reijseger/Hemingway - Music & Arts 958
MELODIE UND RHYTHMUS (1997) Georg Graewe Quartet - Okka Disc 12024
SUBSYMBOLISM (1995) Graewe w/ Mattos & Vatcher - Nuscope 1002
LIGHT's VIEW (1998) John Butcher/Georg Graewe - Nuscope 1004
SCHZ ! (1998) Sebi Tramontana/Georg Graewe - Splas(c)h CDH 670.2
IN CONCERT, BERLIN '96 (1996) Georg Graewe Quintet - Wobbly Rail 007