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| 4.076 Ft
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| 1. | Line Drive
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| 2. | Panorama
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| 3. | Orchids
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| 4. | Gypsy Tales
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| 5. | Set to Sea
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| 6. | Oceanography
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| 7. | Beneath the Waves
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| 8. | Barretto's Way
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| 9. | Rabbit Race
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Jazz
Hans Glawischnig - acoustic bass
Miguel Zenon - alto saxophone
David Binney - alto saxophone
Ben Monder - guitar
Luis Perdomo - piano
Jonathan Blake - drums
Marcus Gilmore - drums
Antonio Sanchez - drums
Chick Corea - piano
with its commanding bowed work at start and finish, its classically majestic bolero theme and idiomatically righteous montuno-backed drum solo, all spun out at a languorous 5/4 tempo.
Two examples of his sonic affinity are the opening "Line Drive," which shifts between three and five and features a melody tailored to the alto sax of Miguel Zenon, and "Gypsy Tales," where Ben Monder's singular guitar sound is as central as the frenetic rhythmic elements that recall gypsy music. Both "Gypsy Tales" and "Rabbit Race" were written during the summer of 2006, while Glawischnig and drummer Marcus Gilmore served as the rhythm section for Chick Corea during Corea's Spirit of Mozart tour. "Chick hired me on the basis of hearing my last album," the bassist says, "and he has been very encouraging, not just by his participation here but through urging me to go out on my own and play my music more. "Panorama" is an older Glawischnig piece, with Hispanic inflections on a jazz foundation that are right up Corea's alley, while "Oceanography," with what the composer calls a Lee Konitz feeling, is based on "How Deep is the Ocean?" and commemorates some jamming the trio did during the tour with guest saxophonist Tim Garland. Both tracks capture a bracing, multi-generational unit that warrants further documentation.
While all of the musicians are uniformly excellent, Glawischnig remains the dominant figure. He does this without apportioning an inordinate amount of solo space to himself. "I don't see myself as the center of my own band," he notes. "I have the capability of presenting myself here, and I do; but I'm a bass player, not an egomaniac. And while I have ideas for larger ensembles, the small group format is a good starting point for shifting the focus more to my own thing. The basic quartet is a good platform for my compositions, and I enjoy all of that room for conversation."
To confirm the accuracy of Glawischnig's analysis, note with particular attention the four tracks that feature Zenon. Both
Glawischnig and Perdomo are longstanding members of the saxophonist's quartet, yet these performances have a flow and feeling that set them apart from yet on the same elevated plane as the music these same players make under Zenon's direction. Dave Holland pulled off the same feat - of a sideman emerging from a supporting role with his leaders in tow . I would not be surprised to see Panorama marking the same kind of ascension for Hans Glawischnig.
Hans Glawischnig was born in Graz, Austria on October 22,1970. His father, a respected pianist, big band leader and educator, instilled in Hans an early interest in music, enrolling him in 1976 as a violinist in the talented pupils class of the Academy of Music in Graz.
In 1983, Hans began playing the electric bass and by 1986 added the double bass which was to become his main musical voice. From 1986 to 1988 he studied part-time at the Jazz Department of the Academy with renowned American bassist Wayne Darling.
Rathaus -- Graz, Austria
After high school Hans relocated to the United States to accept a scholarship at Berklee School of Music. During his years in Boston he honed the skills he is known for: mastery of varied musical genres, strong musicianship and an inquisitive musical nature. He studied with bassist Bruce Gertz, played and recorded with faculty members Hal Crook, Phil Wilson and Greg Hopkins and accompanied several visiting clinicians, including drummers Steve Smith and Casey Scheuerell. He also was presented with several Professional Music Awards and in 1992 he received his B.A. magna cum laude.
That same year Hans made his move to New York to join the M.A. program at Manhattan School of Music on scholarship. At MSM he met many of the musicians he now regularly works with while studying electric bass with Jeff Andrews. Throughout his studies he gave lessons privately and tutored students for their harmony and ear training exams as a means of additional income. Word got out of his talents long before his graduation in 1994, and he was already turning down gigs in order to complete his studies.
Hans' first break came in 1995 when he was hired to fill the bass chair in Bobby Watson's Urban Renewal band on the recommendation of fellow student Steffon Harris, playing alongside New York veterans Victor Lewis, Mark Soskin, Rachel Z, Sammy Figueroa and Steve Kroons. A stint with Maynard Ferguson's Big Bop Nouveau was to follow later that year. 1996 was to be a pivotal year for Hans.
While he kept busy performing as a freelancer around the New York area, he was invited to play with Ray Barretto's renowned New World Spirit ensemble. Though he had played Latin music throughout his days in New York, his exposure to this legendary artist helped Hans refine his interpretation of rhythm, improvisation and musical interaction. The group toured extensively and recorded two albums, Contact! for Blue Note records and Live in Europe (presently unavailable in the United States). Further engagements with Paquito D'Riviera, Dave Samuels and Bobby Sanabria followed swiftly, as did performances with Rick Margitza, Garry Dial, Billy Harper, Richie Beirach, Billy Hart, Joe Locke, Dave Binney, Adam Rogers, Steffon Harris, Claudio Roditi, Billy Drewes, Jamey Haddad, Brian Lynch, Phil Woods and Claudia Acuna, to name a few.
Another great opportunity presented itself when Hans was invited to join David Sanchez' Melaza Sextet in 1998. The group toured the globe and recorded two albums for Columbia - Melaza (for which Hans penned Orbitando) and Travesia - which pushed the envelope of Latin Jazz to its limits and brought the group great critical acclaim as well as two Grammy Award nominations.
In 2001, Hans recorded a number of his own compositions, which were released as Common Ground on the Spanish label Fresh Sounds/New Talent in the summer of 2003. Several of his originals and arrangements were recorded by David Sanchez and Ken Hatfield (The Traveler for Music for Guitar and Bass on Arthur Circle records). For a reunion with Ray Barretto on Tribute to Art Blakey (on Sunnyside Records) Hans contributed an arrangment of Buh's Bossa, and a recent session for Brian Lynch features the original composition Beholding. Recent projects included recording sessions with James Moody for an upcoming album on Savoy records and extensive touring with Claudia Acuna, Mark Murphy and David Sanchez. |
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