Romanian's folk music motives create just a pretext for a sophisticated encounter of the most innovative musicians from all spectrum of Central European jazz.
Interzone Jazz Orchestra
Transylvanian Grace
Label: NotTwo, 2002
Catalogue No: MW 740
Format: CD
"The only relevant music happening now, is music that consciously blurs the
lines of genre in an attempt to create another form. (...) We need mutant forms
that are enriched by a spectacular array cross-pollination." (Lydia Lunch)
Tracks:
1. Ouverture [03:14]
2. Armenian Prayer [10:03]
3. Life In Two Parts [08:05]
4. Sirba [01:43]
5. Joane, Joane [06:16]
6. Lambada From Oltenitza [06:24]
7. Miniature No.2 [00:53]
8. Copsa Mica Mormolog [02:29]
9. Send Back My Wife [05:20]
10. Doina [05:25]
11. Munedoara Castle Ghost [02:25]
Line up:
Maurice de Martin - drums
Mircea Tiberian - piano
Adam Pieronczyk - saxes (right side)
Vladimir Karparov - saxes (left side)
Horst Nonnenmacher - double-bass
Daniel 'Topo' Gioia - percussion
Marta Hristea - voice
Recorded:
at Studio 2, Radio Svizzera, Lugano, Switzerland on November 10, 2006
About:
The music on this album wants to reflect the great
musical heritage of Romanian and especially Transylvanian folklore. The
traditional songs are taken from the "Lautari" and vilagers' repertoire, which
you can still hear on weedings celebrations and in the village bars around the
Carpathians The original compositions are written under the strong sensual
impressions of our mutual trips through the Transylvanian highlands in the years
1997-2000. Enjoy the Music!
(Maurice de Martin / Mircea Tiberian)
Maurice de Martin originally coming from the small nucleous of the
Munich-Avant-Jazz-Scene, very soon getting closely connected to the NY-Avantgarde
and Art-Noise-Rock-Scene in the late 80ies (‘89 debut with “Brother Virus” as
first German band at the “oldschool” NYC clubs “Knitting Factory” and “CBGBs”),
Maurice found his home-base as a professional musician in an artistic atmosphere
where the unity of performer and composer in one person as well as the art of
multiple authorship was highly cultivated. The missing necessity of
specialisation and purity encouraged him to further on develope most of his
multiple interests in the academic as well as the non-academic spheres of
creation.
His studies in New York City (1990-95) led to a period in Berlin (where he moved
in 1995), when he did the same time research and experimented with classical
composition (Giya Kancheli), improvisation (the former DDR-Free-Impro-scene),
the genuine Folklore of South Eastern Europe (performing with traditional
ensembles in Romania, Hungary, Serbia and Bulgaria as scholarship holder of the
DAAD), but also being an active performer and recording-artist in the various
forms of Jazz, Metal, Noise, Rock and electronic music. Later, through his
longtime collaboration with the Ensemble Zeitkratzer, Maurice became an
experienced interpret of Contemporary Music. His repertory in the Ensemble as
well as a soloist goes from K.H. Stockhausen, Morton Feldman, John Cage, Steve
Reich, Philip Glass, La Monte Young, James Tenney, Alvin Lucier and reaches
direct collaboration with now-music artists such as Elliott Sharp, Carsten
Nicolai, Keiji Haino, Whitehouse, Zbigniew Karkowski, Terre Thaemlitz and Manuel
Göttsching.
Up to today, Maurice de Martin is increasingly developing an attitude of
creation that can be best described as: Expansion instead of deconstruction.
Besides the pure music, there is a certain love of the performative element
coming from diverse activities around Fluxus-based performance-art (Donaufestival
Krems/Schillertheater/Haus am Waldsee, Berlin) as well as a special focus on the
work with language and the sound of language in his more recent works for
Theater (Schaubühne), Music-Theater (Operdynamo West) and dance.
Percussion……combining self-built instruments, objects from the ethno-field that
he usually collects on his trips, modern set-drumming and experimental setups
with traditional/classical orchestral percussion-equipment and technique.
Research with tools out of the everydays-life-field, instruments and
electronics, live-recording and live-processing.
Recently working as……steady percussionist for the ensemble “Zeitkratzer” (artist
in residence at the Donaufestival Krems/Austria and guest-ensemble at the
Volksbuehne Berlin) www.zeitkratzer.com, composer/musical director for several
major Theater-productions (Schaubühne: Midsummernightsdream, Cat on the hot tin
roof, Roomservice a.o.,stage-periods ‘06,’07 and ‘08, www.schaubuehne.de, and
composer/musical director for the German-Korean Opera-installation
“Freischütz-ga” with Janina Janke, Schillertheater/Berlin 08/08
www.operdynamowest.org, Theater-Installation “Der Findling” with Janina Janke,
KGIT Soul/South Korea 10/08 in collaboration with Goethe-Institut Seoul,
Korea-Foundation and Senate Berlin. The inspiring and successful collaboration
with Operdynamo West continued in the year 2010 with the
multimedia-performance-project „VWS-Der Findling“ in Berlin.
Other important Longtime-projects……since 1989: “Brother Virus”, since 1997:
“Interzone” with Mircea Tiberian, since 2000: Berlin Jazz Composers Orchestra/“Transylvaniana“,
since 2001: Zeitkratzer, since 2003: “3D” with Christopher Dell and Chris
Dahlgren…
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