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WUMM! ZACK!
MAX NAGL
(1993)
VOL 1
Max Nagl saxes and vocals
Dan Froot saxes and vocals
Patrice Heral percussion and vocals
Wumm! Zack! - Marschgabelvariationen für zwei Bläser Schlagzeug und Videoprojektion.
Commissioned by Spot Salzburg for the musicfestival "Heimischquer" in November 1992 at Szene Salzburg
1. Echo 2.29
2. IV 1.16
3. Hui - Ti 0.31
4. IX 1.19
5. V 2.22
6. Respeckt 1.02
7. VI 0.39
8. I 1.34
9. II 0.27
10. VIII 1.35
11. VII 0.28
12. Trili - Hops 0.20
13. Lois 1.40
14. Ha - Hi 0.26
15. III 0.35
16. Kombi 1.53
17. XII 0.40
Recorded on November 2nd 1992 by Rudi Mille at Studio "Am Kanal" in Vienna/Austria
Digital mastering by Georg Mittermayr at Studio CSC
Composed and produced by Max Nagl
Inside photo / Max Nagl by Hannes Novohradsky
Coverdesign by Kraner & Hofmann
This music is greatly inspired by Ohlsdorfer Hochzeitsbläser and the artistry of Lol Coxhioll
C + P 1993 Die Extraplatte
Austro Mechana
EX 181 CD
"Everything happens here. Basically this consists of alto saxophone duets with percussion accompaniment (Someone plays soprano on the opening track). The music is spread out over 17 tracks in nineteen and a half minutes. The longest runs at 2:29. The themes consist of folkish melodies that sound as if they could have either come from the Austrian Alps or the mind of an Ayler disciple. There are no solos except for brief Interludes on "I" and "Lois". There´s energy and humor in evidence here. A dedication to Lol Coxhill is very telling. This is a very enjoyable recording."
Robert Iannapollo Cadence Magazin December 1995
"Max Nagl: hacia el folclor-free
A algunos les parecerá una tomadura de pelo, a otros una insoportable irreverencia, pero lo cierto es que el trabajo que ha venido desarrollando el saxofonista Max Nagl con la música folclórica austriaca merece ser escuchado. Cofundador del trio Manhattan Love Suicide, Nagl pasó algún tiempo en Nueva York, donde no sólo trabajó con músicos de la vanguardia como Fred Frith y Butch Morris, sino que colaboró en proyectos de tanza y teatro. Por cierto su trabajo con Fred Frith, realizado para la bailarina Margarita Guerque, fue calificado por un critico del New York Times como una "mancha de sonidos resbalosos constantemente cambiantes".
En Wumm! Zack! – Volume One, Nagl es acompanado por Dan Froot (saxofones y voces) y Patrice Heral en percussiones, para hurgar en suis raices y darles una lectura muy personal. "Compuse este trabajo inspirado por la música de bodas de la alta Austria –dice el saxofonista -, la cual es tocada normalmente por dos trompetas que conducen la fiesta de boda desde la iglesia al restaurante y sigue tocando durante el baile. También fue inspirado por la música que se toca durante los funerales y otras celebraciones locales que necesitan de un impacto emocional".
Nagl tamiza estas fuentes de inspiración a través de su formación jazzistica y rockanrolera, cuyo resultado son pequenas piezas que non pierden el impacto de la música original, pero llevan la firma del autor. Estas vinetas, algunas de las cuales no duran más de treinta segundos, dan cuenta de la importancia qu las raices folclóricas tienen en la música contemporánea europea."
Xavier Quirarte EL NACIONAL 1995, Mexico |
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Daily Bullet
Max Nagl
(1996)
Jonathan Bepler vocals, guitar
Max Nagl saxophone, sampler, accordion, mouthpieces, xaphoon
Josef Novotny piano, keyboards
Burkhard Stangl guitar, bass
Wolfgang Reisinger drums
Patrice Heral Tuvan shaman drum on #10 "Nothing is what it seems"
1.. Endless 5´15
2.. Echo 3´59
3.. Prelude for a 2´08
4.. Running time 9´16
5.. I rub my eyes 3´30
6.. Wham! Bam! 6´03
7.. Calamar 4´28
8.. Don't you explain what's
in my world 2´25
9.. Pantera 8´29
10.. Nothing is what it seems 7´01
Music by Max Nagl, words by Maria T. Maturana, "Wham! Bam!" words by Maturana & Nagl
Music published in Austria by Austro Mechana / AKM
rest of the world by Alissa Publishing / PRS-MCPS
Recorded and mixed by Rudi Mille, Vienna, 1996;
Additional recordings digitally mastered and edited by Josef Novotny;
Photos from Super 8 film by Max Nagl developed by Hannes Novohradsky;
Wolfgang Reisinger uses AKG microphones;
Produced by Max Nagl & Leo Feigin.
C + P Leo Records Laboratory, 1996
LEO LAB CD 023
"...l´échantillonneur, le saxophoniste a offert aux points de vue et de vision des textes de Maria T. Maturana un contour fascinant qui quitte les seuls domaines réservés aux sons et aux mots pour désigner toute une sensibilité..."
Jazz Magazine Mars 97, Frankreich
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Ohlsdorf 18
Max Nagl
(1995)
Max Nagl Altosax, Sopranosax, Clarinet, Melodica, Cello, Guitar, Piano, prepared Piano, Jaw Harp, Plastic Organ, Whistling, Kalimba, Watercups, Synthesizer, Mouthpieces, Drums and Voice.
1. Are you calling ? 1.53
2. Left alone 2.58
3. Little stepdance 0.41
4. Don't 2.53
5. Like to dance ? 1.20
6. Waterframe 3.35
7. Auf´m Mond 0.59
8. Places to be kissed 3.15
9. Keep your gun 1.20
10. Don't stop till you breath enough
3.13
11. Weberian variations 3.50
12. 60m Brustkraulen Variation 3.22
13. Uapa 1.41
14. Brooklyn memory 0.54
15. Don't move 4.17
16. Holitschka 2.08
17. Sepp´s Tagträume 1.49
18. Sam and Dave 3.39
19. Township 1.51
20. Traditionals 2.20
21. People like us 5.28
All music composed, played, recorded and produced by Max Nagl on 4-track tape machine between 1989 and 1992 in Vienna/Austria.
Mixed by Rudi Mille and Max Nagl.
Except 14 and 21 recorded and mixed by Thomas Gottwald on 8-track.
Mastered by Josef Novotny.
Photo of Max Nagl by Hannes Novohradsky.
Coverdesign by Kraner und Hofmann.
Lettering by Tom Rengelshausen.
1, 5, 8 and 15 recorded for the dance performance "Where you are calling from", choreographed by Donald Fleming, performed in Amsterdam and New York.
Ohlsdorf 18 is also released in a handprinted and numbered edition of 99 copies on Extraplatte GesmbH EX 159 MC
Austro Mechana
C + P 1995 Rude Noises 001 CD
"Faced with a musician playing 17 instruments" on 21 tracks on the first issue of a label called "Rude Noises" it´s almost too easy to predict the formlessness and rudimentary noises to come. The real shock, though, comes when you hear what Nagl is doing, often employing pleasant melodies, rhythmic regularity, and fairly orthodox timbres. The instruments are often used in conventional ways - reeds for melodies, rhythm instruments for rhythm, cello and kalimba for repeating figures, piano and synthesizer for textures. The resulsts often suggest the Renaissance or various folk musics, though there are ventures into experimental voice pieces. The music is often mimetic, wether Nagl is exploring real and synthesized water sounds and toy instruments or overdubbing himself into a village band. Reeds are Nagl´s strongest instruments, and whimsy a sometimes dominant characteristic, but he creates variety that few musicians, and fewer radio programmers, would attempt. A strongly melodic, wistful, track follows one dominated by electronically altered coughing. Guitar, whistling, and jaw harp suggest Ennio Morricone on a tight budget on "Keep Your Gun", before Nagl embarks on solo alto for the next piece.
The pieces were recorded, really "built up", over a three year period using a four-track tape recorder. Although track by track details of instruments and dates aren´t given, the CD suggest a chronological evolution. The first pieces are generally very short and occasionally end abruptly. Around the middle there´s a concentrated sequence of unaccompanied alto pieces that are the expressive core of the pieceblending circular breathing, a sometimes languorous tone, and deliberate reed squeaks. These solo pieces are among thr few that are developed in a conventionally "improvisatory" way. The later pieces are better realized efforts in the same vein as the early ones, though the pieces have expanded in length and the layering of rhythm and interweaving horns is more developed. There´s some nice unison horn playing on Township.
Odd crossovers take place between ideas of the "primitive" and the "sophisticated" here, between the deeple felt and the conventional. The final "People Like Us" blends Nagl´s emotive soprano with synthesized strings in a way that may be more moving because the orchestra is mechanical. The rapidly shifting styles and textures actually highlight the individual pieces in this unusual recording."
Stuart Broomer, CADENCE February 1997
Under Cover Collection Band
Burkhard Stangl / Max Nagl /
Tom Cora / Samm Bennett / Thomas Chapin
(1995)
Hör-Fest
Steirischer Herbst '94 Under Cover Creative Music Seminar
Under Cover as mimesis: improvisation and composition as a musical game with communication, strategies of concealment, counterchecks and imitation, an identity game.
Under Cover strategies as artistic guerilla tactics are not simply intentionally imparted expressions, but also serve the purpose of such in the association of nothing and approach. John Cages composional discovery of silence does not only contain aspects of innocence. Since 4? 33?? was formulated silence has also been conquered, mapped, domesticated. And logically, indeterminacy, like looseness, has since then been worthy of infiltration, an object of subtile subversion. Therefore, for a good Under cover agent there is no sound without history, creative music, new music can be understood and appreciated not only as a self-created style and social history. As a permanent Under cover job, art is unfaithfulness, a game of concealment, counterchecks and imitation - an identity game.
The Under Cover Collection Band is a collaboration between the Knitting Factory and the Culturcentrum Wolkenstein in bringing musicians from New York to Austria to work with the Austrian musicians. The project is part of a continuing work in developing arts between artists from Austria and New York.
Under Cover als Mimesis: Improvisation und Komposition als musikalisches Spiel mit Kommunikation, mit Strategien des Verdeckens, Konterkarierens und Imitierens, immerhin ein Spiel um Identität.
Under Cover Strategien sind als künstlerische Guerilla-Taktik nun nicht nur der mitteilungsgewillten Expression, sondern auch im Umgang mit Nichts und den Annäherungen daran dienlich. Immerhin hat John Cages kompositorische Entdeckung des Stillseins nicht nur Aspekte der Unschuld. Seit "4? 33?? " formuliert ist, ist eben auch das Stillsein erobert, kartographiert, domestizierbar. Und folgerichtig ist indeterminacy wie Losigkeit seither ebenfalls unterwanderungswürdig, Gegenstand subtiler Subversion. Deswegen gibt es für gute Under Cover-Agenten keinen geschichtelosen Klang. Creative Music, New Music laßt sichn nicht nur aus der jeweils als eigenaufgefaßten Sozial- und Stilgeschichte heraus verstehen, daher beurteilen und daraufhin schätzen. Als permanenter Under Cover-Job betrachtet, ist Kunst Fremdgehen, ein Spiel des Verdeckens, Konterkatierens und Imitierens, eben ein Spiel und Identität.
Die Under Cover Collection Band ist eine Zusammenarbeit zwischen der KNITTING FACTORY und dem CULTURCENTRUM WOLKENSTEIN und will Musiker von New York nach Österreich bringen, um mit österreichischen Musikern zu arbeiten. Das Projekt ist Teil einer fortdauernden Zusammenarbeit, die der Förderung von Künstlern aus Österreich und New York dient.
steirischer herbst '94
Burkhard Stangl: Guitar
Tom Cora: Cello
Max Nagl: Reeds
Samm Bennett: Percussion
Thomas Chapin: Reeds, Flute
Driving Range
Honk
Butoma
Love Those Shoes
Signing Like A Guest Book
Ushkushkushkaloosh
Simplex Bob
Fitting
Sekt
Would-Be
Uncle Core
All music arranged by the under cover collection band
Produced by Michael Dorf and Reinhard E. H. Gosch
Engineered by Sound Service
Recorded October 10, 1994 at Culturcentrum Wolkenstein (CCW), Stainach / Austria
Design by Werner Reiterer
P + C 1995 Knitting Factory Music
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En Passant
Otto Lechner/Max Nagl
(1999)
Otto Lechner: piano, akkordeon, stimme, percussion
Max Nagl: sopran-, alt-, tenorsaxophon
"Man (nagl/lechner) hat den auftrag erhalten, musik für einen dokumentarfilm zu machen. Also ruft man alex rathner an und vereinbart mit ihm zwei tage im augartenstudio, um gleich frisch und unverbraucht aufzunehmen. Ein paar mitgebrachte motive werden verwendet, die hauptsache sind aber im augenblick entstandene stücke, deren arbeitstitel wir unverschönt beibelassen haben. Nach acht stunden haben wir genug, trinken noch ein bier und gehen nach haus. Zurück bleiben eineinhalb stunden musik, die noch gemischt werden will und ein unzufriedener regisseur, der sich das alles ganz anders vorgestellt hätte. Wer nun aber meinte, es handelte sich hierbei um die widerlegung der alten weisheit, daß gute dinge weile bräuchten, sollte auch die drei jahre berücksichtigen, die es bis zur veröffentlichung gebraucht hat. Mit dem abstand von drei jahren erscheint mit die damals entstandene musik als filmmusik zu illustrativ, aber nachdem Sie, geschätzte zuhörerInn den dazugehörigen film wohl kaum jemals zu gesicht bekommen werden, wünschen wir ihnen schöne eigene bilder, oder einfach einen reinen hörgenuß."
Otto Lechner, Februar 1999
"This music was recorded in one afternoon with the idea to record music for a documentary film about time passing in Munich. We started to play and thought about moods and images like clockwork, subway scenes, funerals, traffic, boredom, play grounds, time passing, city life. Within only a few hours of recording time we had enough material to use. Originally the producer wanted to have a band with saxophones, trumpet, piano, drums and bass. But of course, time was limited and everything had to be finished practically before it began. So we decided to be a band on our own. Instead of a drummer otto sometimes played simultaneously drums and accordion or piano. Together with my saxes, we were a complete band. Except "Netzwerk", everything was played and recorded in one take. I wrote "Futteral" some years ago, but it was never recorded. It just waited for the right moment."
Max Nagl, January 1999
1. Intro 0.07
2. En passant 4.11
3. Fußnote 1.36
4. Futteral 5.00
5. Etui 2.31
6. Nana 3.35
7. Tulpensalat 1.18
8. Flucht 3.10
9. Hauch 2.13
10. Netzwerk 2.50
11. Zirkus 1.34
12. Balkon 2.42
13. Pendel 5.05
14. Trottoir 2.30
15. En passant II 2.01
16. Futteral II 4.38
17. Schnittopfer 2.15
Komponiert von Otto Lechner und Max Nagl
2, 10, 15 von Otto Lechner
4, 16 von Max Nagl
recorded: Alex Rathner Jänner 1996 im Augarten Atudio; mastering: Josef Novotny;
cover art: Na No; film stills: "EN PASSANT"; photo: W. Grossebner
produced by Lechner/Nagl
Diese Musik wurde für den Film "EN PASSANT" von Thomas Koerner und Hans A. Lusznat komponiert
C + P 1999 rude noises 006 CD
Otto Lechner & Max Nagl En Passant Rude Noises 006 CD
"En Passant is the sound of time passing in Munich. Actually, it is music to accompany a documentary film on that theme. Saxophonist Max Nagl and pianist Lechner veer, in brief lyrical evocations of changing mood, from tranquil contemplation to animated scurry. These are snapshots rather than elaborate portraits, but within the parameters set by the nature of the project the duo performs with frothy verve."
Reviewed by Julian Cowley, The W I R E, July 99
"Auf dem im Duo mit dem Akkordeonisten und Pianisten Otto Lechner eingespielten Duo-Album stehen ebenfalls filmische Motive im Mittelpunkt, was umso mehr erstaunt, als Otto Lechner blind ist. Ursprünglich als Soundtrack spontan erdacht, fiel die Musik zunächst beim Regisseur durch. Der Film machte wenig Schlagzeilen, so dass Lechner dem Hörer nun anlässlich der seperaten Veröffentlichung der vor drei Jahren aufgenommenen Musik schöne eigene Bilder wünscht. Lechner und Nagl agieren überaus impressionistisch, fangen winterlich anmutende Augenblicke im Vorübergehen ein, schaffen es, fröstelnde Bilder mit der Qualität menschlicher Wärme zu versehen. Der Dialog suggeriert Geborgenheit in der Einsamkeit. Dem Hörer werden in der Tat weite Assoziationsräume gelassen."
Wolf Kampmann, Jazzthetik ****.
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One Plus One
Original music by Max Nagl
Directed by Christine Gaigg
(1999)
Patrice Heral: percussion
Joanna Lewis: violine
Max Nagl: saxophon, melodica
Martin Siewert: guitar
Achim Tang: bass
Berndt Thurner: vibraphon, marimbaphon
1. Ballaphon 5.58
2. Labofan 5.26
3. Daumen intro 0.34
4. Daumen 2.51
5. Lotus 3.26
6. Sohle 3.47
7. Rotation 2.23
8. Ferse 1.30
9. Kinn 1.53
10. Boden 4.41
11. Sprung 0.58
12. Darm 4.08
13. Knöchel 2.09
14. Moos 6.14
15. Faust 3.53
16. Breath 3.50
A dance piece by Christine Gaigg
Created with:
Michael Dolan,
Milos Galko,
Nina Kripas,
Mani Obeya,
Daphne Strothmann,
Julia Todd.
The world premiere of "one plus one" took place on July 16th, 1999 at the ImPuls Tanz Festival Vienna, Sofiensäle – directed by Christine Gaigg.
"one plus one" is a Co-production of 2nd Nature dance group, TanztheaterWien and Max Nagl Ensemble.
Stage and Light: Philipp Harnoncourt
Production: Art:phalanx
Music composed by Max Nagl
Recorded live in concert by Ronald Matky
Mastering by Josef Novotny
Graphic design by Andrea Zeitlhuber
Photos by Marianne Weiss
C + P 1999 rude noises 008 CD
"One Plus One est une musique écrite pour un ballet de Christine Gaigg, et été jouée à 16 juillet 1999 par, notons-les tous car ils le méritent: Patrice Héral (perc) et Joanna Lewis (vln) – électrons libres dans le payasage sonore de Max Nagl -, Martin Siewert (excellent à la guitare), Achim Tang (b), Berndt Thurner (vib, Marimba) at Max Nagl (sax, mélodica). Si le saxophoniste paraît an lèger retrait dans sa position de soliste, le disque n`en refléte pas moins les tons et les coleurs de son monde intérieur: sorte de musique de chambre bizarre, tout à la fois tendre et poivrèe, fragile autant qu`incisive. En prime, Breath, le somptueux théme phare du compositeur."
Marc Sarrazy, Improjazz
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Musik für einen Kirchenraum
Max Nagl
(1998)
Josef Novotny: Orgel
Lydia Vierlinger: Alt
Max Nagl: Sax, Sampler
Teil I
1. Textpassagen aus 1. Buch Mose, Kapitel 1 und 2 17.11
Teil II
2. Textpassagen aus Apocalypsis Ioannis Kapitel 16 17.29
Teil III
3. Mankind 1.57
4. Of uncertain duration 4.47
5. Let thy heart 2.02
6. Blessed hour 3.07
7. To rest eternal 2.45
3. – 7. Text von Maria T. Maturana
Musik komponiert - unter teilweiser Verwendung von traditionellen Kirchenliedern - von Max Nagl. " Musik für einen Kirchenraum" wurde für das "Festival der Regionen" komponiert und im August 1997 in Oberösterreich uraufgeführt.
Aufgenommen am 4. Juli 998 in der Pfarrkirche Ohlsdorf,
cd mastering: Josef Novotny,
cover art: Na - No,
photo (Deckengewölbe aus der Römerkirche Aurachkirchen/O.Ö.): Hannes Novohradsky,
produziert von Max Nagl
C + P 1998 rude noises 007 CD
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Super 8
Max Nagl
(1997)
Max Nagl sopransaxophon, melodica, sampler, akustikgitarre, plastikgitarre, colombina, küchengeschirr, handorgel, glockenspiel, spielzeugklavier, drummachine, kinderspielzeug, akkordeon, nizo 801
Patrice Heral percussion #10
PCP Stimme #5, 8, 16
1. Cinema povera 5.22
2. TV Ear 3.26
3. Ein Walzer One 2.59
4. Weekend 7.32
5. Uak 2.23
6. Th. M. 1.02
7. Tragik 1.54
8. Stuhlgang 2.19
9. For the airports 1.41
10. Sänkh-Nöff 0.38
11. Rosemary´s Baby 3.57
12. RX 8 2.25
13. Hören 2.16
14. A place to be 2.15
15. Reprise 0.55
16. Herz 3.03
17. Speak and spell 3.18
18. Radio Hoboken 6.27
19. Pfoad 3.06
all titles composed by Max Nagl / #11 by Krystof Komeda
played, recorded, mixed and produced by Max Nagl on 4-track tape recorder / summer 1996 in Vienna/Austria
mastered by Josef "Schnittmeister" Novotny
cover art / Na-No
photos / Florian Sokol, Max Nagl, Hannes Novohradsky
C + P 1997 rude noises 002CD
"Max Nagl, a bona fide Austrian who played clarinet in a marching band, has come through rock, jazz, Improv and film to produce this melange of plastic guitar, found sounds, TV samples and kitschy nostalgia tunes. Fist fights erupt David Shea-style as a backing to Jean De Florette melodica solos. Glockenspiel and accordion solos mingle with kitchen cutlery; Spaghetti Western shoot-outs with manic plastic guitar jams. All recorded onto a four track there´s a deft, spontaneous handheld camera feel - more roaming and impromptu than manic pastiche."
Matt ffytche The W I R E , February 98 |
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Mélange à trois
Max Nagl Quartett
(1997)
Joanna Lewis: violin
Max Nagl: saxophone, melodic, sampler
Josef Novotny: piano, cembalo
Patrice Heral: percussion, vocal
"die Musik für dieses quartett wurde ursprünglich für ein konzert mit super 8 filmen, die ich in spanien und in meinen zimmer aufgenommen habe, komponiert. die filme zeigten das mittelmeer-autofahrten-stierkämpfe-ameisen-noten. lose aneinandergereiht, dienten sie als visueller hintergrund für unser konzert und gaben uns gleichzeitig die illusion, musik zu einem "film" zu spielen. der titel des konzertes war "valorca rhapsody", benannt nach enem wortspiel von Patricia C. Prieto. im laufe der zeit entstanden mehr und mehr stücke, inspiriert von der kammermusikalischen besetzung und der idee von einen melange aus walzer, polkas, tangos und dergleichen. der name der band änderte sich, und die filme verschwanden von der leinwand...."
max nagl, wien november 97
"The music for this quartet was originally composed for a concert which included super 8 films. They depicted scenes of the mediterranean sea - bullfights - car trips - ants - musical scores, material I filmed in Spain and in my room. These short films served more as a visual background, and at the same time they gave us the illusion of playing music for a "film". The title of this concert was "valorca rhapsody", named after a "wortspiel" by Patricia C. Prieto. With the course of time I composed more and more tunes, inspired by the chamber ensemble type band and also by the idea to create a "melange" of waltzes, polkas, tangos and other similar styles. The name of the band changed and the films disappeared from the screen...."
max nagl, vienna, november 97
1.. Lump: 4.14
2.. Eh owei super: 2.53
3.. Pot Püree: 6.58
4.. Tranquilo: 3.59
5.. Corrida/Meantime: 6.08
6.. Oh Yeah: 2.15
7.. Xavisol: 4.39
8.. Nachtblende: 3.51
9.. Gelbes Buch II: 4.49
10.. Ausfart: 5.07
11.. Sechsaneintzka: 3.05
12.. Puigpunyent/Kuh: 4.17
13.. Kirtag: 6.14
14.. Résistance: 2.57
15.. Nightwalk: 3.33
16.. Mélange à trois: 4. 47
Mona & Lorenz: voice on 3
Maria T. Maturana: voice on 5
Otto Lechner: voice on 12
#2 composed for the dance theater "Owei Super" choreographed by Christine Gaigg
Composed by Max Nagl, recorded and mixed by Peter Kaizar 15. - 17. May 1997 at studio Stuhlhof/Schwertfegen, #10 recorded live at Porgy & Bess/Wien by Ronald Matky, mastered by Josef Novotny, photos: Hannes Novohradsky, cover photo: wfmu-calendar 93,
design: Na-No
C + P 1997 rude noises 003 CD
Produced by Max Nagl
"Nagl´s incessant genre-hopping simultaneously reflects eclecticism and a savvy pragmaticism dictated by the marketplace, i.e. the more "bags" one displays, the more likely one can get work, or so the theory goes. His contributions to the cerebral constructs and improvisations generated by Werner Dafeldecker and Burkhard Stangl are impressive, while his forays into noise-rock environs lean towardsthe overwrought.Populist concerns also Melange, but Nagl´s take on this fashionable pastiche style encompassing tangos, waltzes, polkas, marches, stately balladry, funk, and free music rings true. His compositional/arrangement acumen, which dictates consision, abrupt yet seamless, or gently evolving segues, and evocative colorations behind soloists is bolstered by realizations ripe with passion and precision. The music´s classical orientation is balanced by an openness of spirit as Lewis toys with rougher edges in her execution, Novotny launches into Monk-via-Mengelberg solos, Heral effectively moves from the pulse to "no time", and the leader erupts into sputtering episodes endemic of late 20th century improvising saxophonists. Samples like the crying child of "Pot" and the crowd of "Corrida" are used sparingly to good effect. But, for all the ingenious details, perhaps most striking are the haunting themes which dominate the program. Lovely and heartrending, familiar yet distinctive, they encapsulate the aesthetic at the core of the Max Nagl Quartett."
Milo Fine, CADENCE July 1998
Mèlange à trois
Max NaglQuartet
(1999)
Rereleased on November Music: NVR2007-2
additional CD Taiwan only (not for sale): Max Nagl Quintet Taiwan `99
a.. Stumm 7.27
b.. Résistance 3.14
c.. Angela D. Song 3.04
d.. Hungriger Vogel & William armer Junge 6:34
e.. Chinese Song 4.53
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Café Electric
Max Nagl Quintet
(1999)
a.. Enticing 6.03
b.. Lost girl 3.12
c.. Die freudlose Gasse 5.03
d.. Café Electric 1.48
e.. Pomme d´Asphalt 1.15
f.. M-abuse 4.09
g.. Greed 5.54
h.. Nosferatu 10.21
i.. Taboo 2.53
j.. Stumm 5.59
k.. s´Vaserl 3.38
l.. Count Ossdorf 2.20
m.. Permanent 3.43
Joanna Lewis: Violin
Max Nagl: Alto and Bariton Saxophones, Melodica, Vioce, Glockenspiel
Josef Novotny: Piano, Harmonium
Achim Tang: Bass
Patrice Heral: Drums, Percussion, Voice, Tabla
All compositions by Max Nagl
Viennese musician and composer draws inspiration for this project from the "femmes fatales" of silent. Concentrating mainly on clarinet on saxophones he creates an exotic musical style combining jazz, folk, dance and classical forms.
Recorded and mixed at Feedback Studio, November 1998 in Vienna by Reinhard Buchta
Edited and mastered by Josef Novotny
Produced by Shu-Fang Wang
C+P November Music Ltd. London UK, NVR2001-1
"Max Nagl gehört nach wie vor zu den aktivsten Posten der österreichischen wenn nicht gar der europäischen Szene. So nimmt es nicht Wunder, wenn er gleich drei Veröffentlichungen ganz unterschiedlicher Färbung auf einen Schlag präsentiert. Café Electric, eingespielt mit Musikern, die auch in seiner Band Mélange à trois nahe stehen, ist ein Spaziergang durch die laszive Welt alter Stummfilme, von deren weiblichen Charakteren der Multiinstrumentalist sich für diese Platte inspirieren ließ. Das Album klingt mit seinem ausgesprochenen Vaudeville-Charakter wie die Cáfehaus-Variante von Naked City. Voller Charme und ohne jegliche Brutalität werden Atmosphären entrollt wie Moritaten. Man spürt, dass Nagl über reiche Erfahrung mit dem Metier Film verfügt. Musik im wahrsten Sinne des Wortes zu inszinieren und mit visuellem Zauber zu versehen versteht. Dabei greift er durchaus auf bekannte Versatzstücke aus der Welt der Zwanziger zurück, die er in seiner ganz persönlichen Manier mit zeitgenössischen Spielauffassungen kollidieren lässt. Voer ein paar Jahren hätte man es ein überzeugendes Fake-Jazz-Album genannt, heute ist es nur eine wundervolle Collage, die vor allem in Zelleinheit mit dem Foto-Buch Not such a bad thing von Christopher Doyle auch in gestalterischer Hinsicht ein Juwel ist."
Wolf Kampmann, Jazzthetik *****, Nov 99.
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Boxing Lulu
Max Nagl & Christopher Doyle:
1999
A Boxed Set comprising the Café Electric CD and a bound photoset by cinematographer Christopher Doyle (Chung-King Express, Psycho 98), conceived as a visual improvisation to complement Max Nagl´s music.
NVR2008-2
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Taboo
Max Nagl Quintett
(1999)
a.. Bon Soir 6.03
b.. s`Vaserl 3.58
c.. Stumm 2.20
d.. Taboo II 2.42
e.. Breath 2.45
Joanna Lewis: Violin
Max Nagl: Alto and Bariton Saxophones, Melodica, Vioce, Glockenspiel
Josef Novotny: Piano, Harmonium
Achim Tang: Bass
Patrice Heral: Drums, Percussion, Voice, Tabla
Recorded and mixed at Feedback Studio, November 1998 in Vienna by Reinhard Buchta
"Taboo" partly recorded at Studio Timix in Pignan/France by Joel Cebe
Edited and mastered by Josef Novotny
Produced by Shu-Fang Wang
NVR 2006-2 |
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Diphtongs
Mühlbacher/Dafeldecker
(1997)
Uli Fussenegger - bass
Lars Lindvall - trumpet
Radu Malfatti - trombone/zither
Ernesto Molinari - clarinets
Piguin Moschner - tuba
Michael Moser - cello
Christian Mühlbacher - percussion
Max Nagl - altosaxophone
Andi Schreiber - violin
Burkhard Stangl - guitars
"Christian Mühlbacher and Werner Dafeldecker asked improvisers to play one solo each. Out of those ten soli which were all played completely independently from each other the composers produced collages on the computer, the so-called "diphtongs". They selected, interrupted, thought, set different tunes together, decided on the dramaturgy, and thus formed pieces of music, Care and accuracy seem to have been the most important criteria. Each player is alloyed plenty of space, the subtle interplay between foreground and background characterizes the individual parts.
To work with "material" that is mot just already occupied as is all other acoustic material but the occupied state, i.e. personality of which is its main characteristic, changes the idea of composing as well as of improvisation. The point is that the improviser is not in control of the moment because each moment is interpreted dramaturgically afrerwards on the computer or at least re-interpreted. The composers, however work as with people; slightly similar to film directors who form stories out of personalities. The main difference being that the ten personalities of "diphtongs" no longer have the opportunity to interfere. The fact that each solo is recorded individually beforehand results in a soloistic conscientiousness of listening and of reacting to oneself. The fact that the musicians could not react with one another, although they can be listened to on one CD together, transports floating condition, domianted not by the deficit of isolation but by the exeptional quality of a fine, transparent fabric of individuals, a web both of soloistic and composed lines."
Christian Scheib
All titles composed by Christian Mühlbacher, Werner Dafeldecker and the performers
Max Nagl appears on tracks 04, 06 and 10
Recorded between march and august 1994 by Georg Mittermayr at CSC, Vienna/Austria.
Selected, edited, mixed and mastered by Christian Mühlbacher and Werner Dafeldecker.
Produced by Mühlbacher and Dafeldecker
C + P 1997 Durian Records
Durian 005 - 2
LC - 2520
QUI.T - COMPROVISATIONS I-X
NAGL/ROTHENBERG
VARNER/STANGL
DAFELDECKER
(1992)
Max Nagl:alto and soprano saxophone
Ned Rothenberg: alto saxophone and
bassclarinet
Tom Varner: french horn
Burkhard Stangl: guitars
Werner Dafeldecker: bass
"Comprvisation is a musical procedure that strives for organic interaction, maximum connotational effect and density in the compositions. The elementary particles of the music of Comprovisations are the "phrases, fragments and melodies" that I found on the diverse recordings of the Qui.t-musicians, often enough only a few tones, either improvised or played by notes. I took these construction blocks, transcribed them and turned them into leitmotives, sequences and melodies of the compositions. This thematic material that I worked into compositions is, in its turn, the basic for improvisations that are, however, pre-structured and thus cannot really be called "free". In this way the circle that symbolizes the interwining of composition and improvisation, production and reproduction, coincidence and planning is completed. The concept of Comprovistions permits you to plunge into the passionate work of composing without necessarily getting caught in the rigid corset of note writing, as well as of improvising without getting lost in the freedom of free improvisation."
Burkhard Stangl
I by Stangl - 4.43
II by Stangl/Rothenberg - 5.10
III by Stangl/Dafeldecker - 7.19
IV by Stangl/Varner - 6.23
V by Stangl/Nagl - 5.11
VI by Stangl/Nagl - 8 09
VII by Stangl/Varner - 7 07
VIII by Stangl/Dafeldecker - 5 02
IX by Stangl/Rothenberg - 5 54
X by Stangl - 4 42
additional guitar on V by Dafeldecker
Recorded on July 22 1991 by Ulrich Goebel at Konfrontationen 91/Jazzgalerie Nickelsdorf, Austria.
Digital mastering by Georg Mittermayr at Studio CSC.
Produced by Burkhard Stangl.
Coverdesign by Kraner & Hofmann.
Austro Mechana
C + P 1992 Die Extraplatte EX 166 092 CD
limited edition 444 copies
Seventh Heaven
Otto Lechner Orchester Live
(1995)
Otto Lechner: Hammond Orgel
Karl Ritter: E-Gitarre
Herbert Reisinger: Drums
Karl Sayer: Electric Bass
Joao De Bruco: Percussion
Georg Graf: Bassclarinat
Christoph Petschina: Doublebass
Anton Burger: Geige
Stefan Pöchacker: Scratcher
Max Nagl: Altsaxophon
1.. Otto's Seven 27:48 (Otto Lechner)
2.. Mopti 20:19 (Don Cherry)
3.. Walking On The Moon 13:43 (Sting)
Recorded live at Porgy & Bess/Vienna on Feb. 19th 1995
Produzenten: Otto Lechner und Georg Hoanzl
H - 017
more live music from wfmu
Upsalapalooza
(1995)
disc two, track 4:
Max Nagl/Patrice Heral
Respect (2.21) (Max Nagl)
Max Nagl sax
Patrice Heral bass drum
host: Vartkes Baboghlian 5/24/94
engingeer: Joe Schalamachia
Produced by Irene Trudel and Irwin Chusid for WFMU
This compilation (p) + (c) 1995 WFMU
Brand
Maische
(1992)
Harald Adrian: b
Christian Fennesz: git, voc, samples
Siegfried Schmid: dr, voc, speech
Guest: Max Nagl: alto- and baritonsax (Tracks 3, 4 and 9)
1.. I See Si 3.56
2.. Out Of This Rev 5.15
3.. 0Black Elk 3.30
4.. Bitcha 2.30
5.. Something Better 0.15
6.. Quattro 5.27
7.. Wish You 4.01
8.. Burning Alhambra 4.05
9.. China ist Nah 2.31
10.. This Is Your Birthday 4.02
Recorded by Alexander Bossew, Lukas Hweda, Petr Werner
At CS-Sound Studio/Brno
AUDIORAMA Tonstudio/Wien
Mixed and mastered by Alexander Bossew
P + C 1992 Maische
CDRA002
Friends of miles smiles
(1994)
Featuring: Zakir Hussain, Wolfgang Puschnig, H. v. Kalnein, Nicolas Simon, Position Alpha, Ewald Oberleitner, Wayne Darling, Spontan Music Trio, Wolfgang Mitterer, Fritz Rainer, Bär Reisinger, Otto Lechner, Max Nagl, Schurl Graf, Ton Pielach, Prinz Karasek, Karl Sayer, Christian Petschina, Patrice Heral, Joao De Bruco, Wolfgang & Christian Muthspiel, David Friesen, Werner Pirchner, K. H. Miklin, Bill Elgart, Andi Schreiber, Woody Schabata
Track 10:
Otto Lechner Ensemble:
"miles runs the voodoo down" (10:55)
(comp. Davis), recorded december 9th, 1993 by a. rathner
Otto Lechner (hammond org)
Toni Burger (viol)
Max Nagl (as)
Georg Graf (bcl, voc)
Karl Ritter (g)
Karl Sayer (eb)
Christoph Petschina (b)
Herbert Reisinger (dr)
Joao De Bruco (perc, voc)
Patrice Heral (perc)
Produced by Cop, Fritz & Harry 1994
Seven Stix 002
duos plus...
Josef Novotny
(1998)
sound-track mit bonus tracks zum hörspiel "austernbucht und filibuster" von thomas klinger
kaffee-kränzchen mit filibuster
wein-ehrliche nach-mittage
auf dem weg zu löch-erlichen selbst-aufgaben
nagl-t novo lewis ans stangl
hund halle klementieren
kling-ehrlich!
sumi
josef novotny: klavier, clavichord, zither, elektronik
katharina klement: klavier, clavichord
joanna lewis: violine
max nagl: saxophon, klarinette
burkhard stangl: gitarre, stimme, klavier
corie townsend, lydia vierlinger, thomas klinger: sprecher
gerlinde illich, margarethe hungen, thomas künne, walter wegscheider: gesang
rick stengards: dirigent
07. nagl/novotny 1 3.25
13. nagl/novotny 2 3.10
Austro Mechana
C + P Josef Novotny
rude noises 005 CD, 1998
limitierte Auflage,
Ereignislose Musik - Loose Music
BURKHARD STANGL
(1996)
1 Konzert für Posaune und 22 Instrumente
(1994) 30:39
Radu Malfatti gewidmet
Ensemble Maxixe
Radu Malfatti: Posaune
2-4 Drei Lieder (1994)
für drei Frauenstimmen und Ensemble nach Anagrammgedichten von Unica Zürn
Ich weiß nicht wie man die Liebe macht 07:35
Das Leben ist schoen 07:18
Niemand hoert auf zu leben 04:58
Ensemble Maxixe
Solistinnen: Renate Burtscher - Sainkho Namtchylak - Eva Hosemann
Konzertmitschnitt vom 26.10. 1994 in der Akademie der bildenen Künste Wien
Ensemble Maxixe
Rafael Grosch - Oboe, Englischhorn, Max Nagl - Saxophone, -Alain Wosniak - Klarinetten. Angelika Riedl - Fagott, Radu Malfatti - Posaune, Karl Fischer - Schlagwerk, Oskar Aichinger - Klavier, Dirigent, Gunter Schneider - Gitarren, Burkhart Stangl - Saiteninstrumente, Joanna Lewis - Violine, Sabrina Briscik - Viola, Michael Moser - Cello, Werner Dafeldecker - Kontrabass
Produziert von Burkhard Stangl und Georg Gräwe
Random Acoustics P+C 1996
Musikprotokoll im steirischen herbst 98
EDITION ZEITTON
(1998)
Nagl/O´Rourke/Rehberg/Bauer/Dafeldecker/ Fennesz/Kurzmann/Orchester 33 1/3
Track 1-7 Max Nagl Super 8 (1997/98) 20:30
Cinema povera 3:38
TV Ear 1:56
Ein Walzer One 1:26
Weekend 3:56
Herz 3:23
Speak & Spell 3:11
Radio Hoboken 5:18
Max Nagl: Melodica, Saxophon, Sampler
Josef Novotny: Keyboards, Sampler
Patrice Heral: Percussion
"Daß es nicht nur einen Max Nagl gebe - musikalisch gesprochen-, sondern einen Noise-Nagl, einen Volksmusik-Nagl, einen Jazz-Nagl und so weiter, hört man immer wieder. Unbestreitbar ist was Wahres an dieser Beobachtung, etwas Entscheidendes wird dabei aber ignoriert: Daß es seit Jahren und unbeirrt den einen Max Nagl gibt, der feinsinnige Miniaturen produziert und auch veröffentlicht, Stücke, als würde ein Schwamm Teile der Umwelt aufsaugen und als ziseliertes Klangobjekt wieder zurückgeben. Gerade mit diesen Arbeiten aber ist Max Nagl ganz bei sich selbst, produziert Musik als Mobilar der Psyche, eine Kunst des öffentlichen Privatisierens. In so ein soziologisch/musikalisches Spannungsfeld versetzte Max Nagl sich und seine Mitmusiker beim Musikprotokoll 1998: Im Pausenfoyevor dem Stefaniensaal wurde die Kunst des akustisch-kompositorischen Zwischenraums gepflegt."
Christian Scheib
Aufgenommen am 3.10.1998, Grazer Congress,
Foyer
CD MP98 ORF 16
http://radio-st.orf.at/musikprotokoll
Bärenoper
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