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NEWSLETTER HANS KOLLER FREE SOUND Nome Unreleased sessions from original tapes! Tenor saxophonist Hans Koller (1921 - 2003) formed his own quartet in 1951 with Jutta Hipp, Franz 'Shorty' Roeder and Karl Sanner. From 1975-80 he directed the "International Brass Company" and the "Super Brass" group, with musicians such as Kenny Wheeler, Albert Mangelsdorff, Ack van Rooyen and Erich Kleinschuster. This was fol - lowed by a series of record releases and concert and festival per - formances. An Austrian by birth, Hans Koller is regarded as Germany's most successful jazz musician of the post-war era; he was repeatedly elected jazz musician of the year, reached number one positions in PERSONNEL national and international polls and was a member of the German Hans Koller, tenor/soprano saxophone • Wolfgang and European "All Stars." Dauner, keyboards • Zbigniew Seifert, violin, alto These live recording were newly remastered for optimal sound. saxophone • Adelhard Roidinger, bass • Janusz Stefanski, drums RECORDED May 15, 1974 in Cologne, West Germany Der Tenor-Saxophonist Hans Koller (1921 - 2003) gründete 1951 sein eigenes Quartett mit Jutta Hipp, Franz ‚Shorty’ Röder und TRACKS Karl Sanner. Von 1975 bis 1980 leitete er die „International Brass 1 Nome . 40:45 Company“, sowie die Gruppe „Super Brass“, u.a. mit Kenny 2 Ulla M. Kompanie 22/8 . 10:59 Wheeler, Albert Mangelsdorff, Ack van Rooyen und Erich Klein - 3 Bandvorstellung Hans Koller . 2:27 schuster. Es folgte eine Welle von Plattenveröffentlichungen, 4 Ansage Hans Koller . 1:57 Konzert- und Festival-Auftritten. 5 Kunstkopfindianer/Adea . 19:30 Der gebürtige Österreicher gilt als Deutschlands erfolgreichster Jazzmusiker der Nachkriegszeit; er wurde einige Male zum Jazz - musiker des Jahres gewählt, belegte erste Positionen bei in- und ausländischen Polls und war Mitglied der Deutschen und der Eu - ropäischen „All Stars”. Die vorliegenden Live-Aufnahmen wurden von den Originalbändern remastert in optimaler Klangqualität . CD digipac incl. 20-page booklet ÆCxCDPBBEB 6QK2y6205 2(6A0H0) z.

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Albert Mangelsdorff Übungsstunden Im Jazzkel- Ler Frankfurt
JAZZ-PORTRAIT unabhängig davon, dass Ten- denzen des Jazz aus dem Her- kunftsland USA nach dem Zweiten Weltkrieg in Europa wie normative Ideen rezipiert wurden: »Erstens ist es nicht hier gewachsen, zweitens ist es ja eine Musik, von der man eigentlich weg wollte. Was man als Jazz-Musiker will, ist doch immer die eigene Mu- sik«, sagte er einst im Ge- spräch mit Joachim Ernst Be- rendt (in: »Ein Fenster aus Jazz«). Doch Folklore, ebenso wie seine klassische Ausbil- dung, war nur bedingt ein Thema für Albert Mangels- dorff, wie Wolfram Knauer in seinem Essay »Zum Umgang von Jazz-Musikern mit deut- scher Musiktradition« (in: »Tension«) dessen minde- stens skeptische Haltung be- schrieb. Mangelsdorff be- kannte sich ostentativ dazu, »dass die eigentlichen Ele- mente des Jazz nicht verges- sen werden«. Durch seine kritische Abgrenzung von Imitationen, nicht aber die Ablehnung der afro-amerika- nischen Tradition, und seine Hinwendung zu eigenen Ressourcen gab Albert Man- gelsdorff entscheidende und nachhaltige Impulse für die Emanzipation des europäi- Photo: Sven Thielmann schen Jazz. Eigenes entstand für ihn zunächst einzeln, und zwar durch seine legendären Albert Mangelsdorff Übungsstunden im Jazzkel- ler Frankfurt. Von diesen täg- uperlative umgaben Albert Man- ausgezeichnet, sondern er war auch stets lichen Exerzitien war Albert Mangels- gelsdorff (1928 - 2005) schon zu eine kulturell integrative Persönlichkeit. dorff »abhängig, einfach um den S Lebzeiten wie einen Nimbus. Ido- Seine respektierte Autorität wirkte Standard zu halten« für
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