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projects
Rhythm Fields26. 3. 2006 |
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`Personnel Colour´, `Spirit of old Europe´ and `Dancing Ganesh´ are three cd productions I have produced since 2001 with the project `Austria meets Canada´. My co-operation with musicians from the Indian culture area began in the same year in which I brought in Don Thompson for the recording of `Spirit Of Old Europe´. My approach to Indian rhythmic language is strongly influenced by the dance master Shama Bhate. Current Indian dance art developed from the “Kathak” tradition is perceived as highly aesthetic and virtuosic by the European audience. `Austria Meets Canada - Indian Choreographies´ is an extension of my work which interactively interlinks dance and music, composition and improvisation, visuals and acoustics. The connection from Indian dance to non-oriental music is an exciting but highly up-to-date project, based on its own dynamics. The production of `Dancing Ganesh´ set the foundation-stone for this synergy. Classical Indian dance is characterised by finely differentiated ornaments, which also exist in the melodic concept of Indian music. My particularly interest is experimenting with complex rhythmic components in connection with dance. The visualization of music by movement, dance and choreography is a less considered element in the field of jazz. Introducing this element in our artistic work is the intention of this project. On the DVD the famous Kathak dancer Shama Bhate introduces us to the aesthetics of Indian dance performed in a new and unusual environment. Together with Ravi Chary she is one of the most well-known artist in classical Indian music, and together with Trilok Gurtu they toured Europe in the late 1980s. Don Thompson, a well-known jazz musician from Toronto (who has worked with Jim Hall, John Abercrombie, Dave Holland, George Shearing, Rob McConnell, Kenny Wheeler, John Handy and many others) writes: `… Manfred has always had the unique ability to assemble the most unusual groups of musicians and make beautiful music. This project, combining Indian Music and European Jazz has been in his mind for a long time. This video is a great tribute to his creativity as a musician, composer and producer.´ A responsive ensemble, complex grooves and inspiring solos as well as Shama Bhate’s fascinating dancing make this live recording of the May 2006 concert a truly magnificent audiovisual experience. content: 1 · Dancing Ganesh 2 · Treading The Unknown 3 · 9 For Blue 4 · Weeping Willows 5 · Creative Distance 6 · Laxmi Road Extra: Working Process runningtime - 90:57 musicians: Ms. Shama Bhate – Tanz/ Choreographie Ms. Manasi Deshpande - Tanz Vinayak Chittar - Sitar Manfred Paul Weinbeger – Trompete, Flügelhorn/ Komposition Christian Maurer – Saxophon, Bassklarinette Stefan Braun – Cello Raphael Meinhart – Vibraphon Christian Wendt – Bass Alfred Vollbauer / Wolfgang Kendl – Schlagzeug The DVD will be region free (1-8)! Powered by: |
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Indian rhythmics26. 3. 2006 |
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India has developed what I like to call `functional rhythmics´ which are parallel to our `functional harmonies´. But whereas our harmonies are based on the contrast between the tonic and the dominant, the Indian rhythmics are based on the contrast between the first beat of a new cycle as opposed to dense, rhythmic patterns within the cycles. Classical Indian music is modal music and the drama of the composition is based on an accumulative rhythmic concept with highly complex structures. This kind of music has become important for my work. The form of the music (the scope of different phrases and motifs) provides new challenges for me as a composer. Firstly, it influenced the melody of your improvisations. Secondly, unlike traditional Jazz where improvisation is based on 4-beat units, In Indian music you encounter a system in which a 3-beat unit requires a 5-beat unit when used in a 16-beat cycle; it?s this use of 5-beat units that can be an especial challenge for western musicians. And finally, the Indian methods of teaching music are completely different to those in the west. In India the relationship between teacher and student is much closer and more intensive than the classes as we know them: once a week only and on a one-to-one basis. The result of this in the development of a mature rhythmical sense at an earlier age than in the west ? and apparently with much more fun, too. This knowledge could help us improve the quality of musical education in our own countries. A system based on Indian rhythmics, starting with microtiming (binar and ternar) rather than whole notes or half notes, could help to develop children?s rhythmic sense. |
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Austria meets Canada23. 3. 2006 |
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In 1997 I first attended a Summer Workshop at the Banff Centre for the Arts in West Canada - www.banffcentre.ca . Surrounded by the stunning Rocky Mountains, this elite of Canada´s Jazz musicians took an active part in the development of contemporary Jazz, eagerly experimenting with the music as if their awareness of the Jazz tradition was a part of themselves. I knew immediately that I wanted to continue this exchange between musicians from different backgrounds and cultures. The outcome is a project called `Austria meets Canada´. During the last four years this has led to recordings of three CD´s: `Personal Colour´ with Hugh Fraser from Victoria, Canada on trombone, `Spirit of Old Europe´ with Don Tompson from Toronto, Canada on piano and `Dancing Ganesh´, also with Don Thompson on vibraphone. |
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Oö Jugend Jazz Orchester23. 3. 2006 |
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The Oberösterreichisches Jugend Jazz Orchester (Upper Austria Youth Jazz Orchestra) was initiated by Manfred Paul Weinberger, Head of Department for Jazz, Pop and Rock at the Upper Austria Music School (Oberösterreichisches Landesmusikschulwerk), together with the Upper Austria Jazz Orchestra and the Brucknerhaus Linz. The idea is to support Upper Austria?s new generation of musicians ? a matter of concern among teachers, students and young Jazz musicians whose interest in the Upper Austria Youth Jazz Orchestra has grown a great deal in recent years. The classic big band sound of the first half of the 20th century has become part of contemporary music and an essential means of expression. The demands made on musicians nowadays are much more complex than 100 years ago. Contemporary Jazz orchestras don?t look at the different registers of this sound as isolated theme sections or percussion bodies. Instead they look at cross-register composition techniques as well as more complex rhythmic structures and harmonic density. It is this intricacy that requires a musician to possess a broad theoretical knowledge, taking into account influences from other cultures as well as the blending of classical music and Jazz. For the first time young musicians are trained by professional Jazz musicians in an authentic workshop atmosphere allowing them to understand the musical requirements of a modern Jazz orchestra. Participants also get the chance to rehearse and perform music composed during the course ?Composition and Arrangement?. Alfred Vollbauer is the artistic director of the Upper Austria Youth Jazz Orchestra, Christian Maurer, Christian Bachner, Rudolf Pilz, Manfred Paul Weinberger, Christian Kastenhuber, Robert Bachner und Helmar Hill are responsible for the instrument sections. Project leader is Manfred Paul Weinberger. |
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Austria meets Canada IV23. 3. 2006 |
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In „Austria meets Canada VI – Creative “ we welcome Don Thompson at the vibraphone, presenting a project that for five years has bridged the geographical gap between Austria and Canada. The music performed with this Band was composed during the first half of 2004. Influenced by past impressions of the structures of Indian music as well as some new ideas my intention, however, is not to simply reproduce the sound of Indian music in a Jazz context. How will Indian music and my fascination with its structures influence the sound of my own music? I find this question intriguing - although I haven't been able to answer it yet! But as an open-minded, inquisitive Jazz musician one cannot avoid acknowledging the influences of foreign traditions. Austria meets Canada IV ? Dancing Ganesh Manfred Paul Weinberger ( Austria) Trumpet, Flugel Stephan Braun (Germany) Violoncello Christian Maurer (Austria) Clarinet, Sax Don Thompson (Canada) Vibraphone Alfred Vollbauer (Austria) Drums Hubert Kalupa (Austria) Double bass |
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Manfred Paul Weinberger Quintett - Spirit Of Old Europe |
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| Manfred Paul Weinberger (Austria) Trumpet, Flugel Christian Maurer (Austria) Clarinet, Sax Martin Reiter (Österreich) Piano Hubert Kalupa (Austria) Double bass Alfred Vollbauer (Austria) Drums The music performed with this Quintet was composed during the first half of 2004. Influenced by past impressions of the structures of Indian music as well as some new ideas my intention, however, is not to simply reproduce the sound of Indian music in a Jazz context. How will Indian music and my fascination with its structures influence the sound of my own music? I find this question intriguing - although I haven't been able to answer it yet! But as an open-minded, inquisitive Jazz musician one cannot avoid acknowledging the influences of foreign traditions, an idea that is reflected in various ways in "Spirit of Old Europe". When Germany and France decided not to participate in the Iraq war it led George Bush to use the expression "old Europe" which reinforced the huge cultural gap that exists between Europe and America. The music is surely related to my own ? European ? roots, and in the booklet of the last CD of our ?Austria meets Canada? production, Canadian Jazz musician Don Thompson expressed his ideas of European aspects in Jazz. I think that this Canadian way of looking at European music is very interesting, particularly by such a master as Don Thompson. For many years European Jazz has been looked down-upon by North American musicians and critics. The claim was made that the European jazz musicians didn't swing, couldn't play the blues and that they had no jazz roots. There may have been some truth in this fifty years ago but, in recent years, things have changed a lot. Todays European Jazz Musicians can play the blues, they definitley swing and they have lots of roots. Their roots, however, are very different from ours. They don't have our tradition of listening to Frank Sinatra sing Cole Porter or Miles Davis and Gil Evans playing Porgy and Bess. They don't grow up with Count Basie and Duke Ellington. They hear and study a lot of our jazz but they also study a lot of twentieth century classical music and this has a big influence on their playing and composition. They are also very aware of the avantegarde music of artists such as Antony Braxton and Cecil Taylor. In fact, free form playing is an important part of a lot of European jazz. It is slightly ironic that this component has been dissapearing from North American Jazz. In this respect the Europeans may actually be the ones to keep jazz moving forward while some of North Americas biggest stars seem determined to turn it backwards. Playing with Manfred and his group was, for me, a wonderful experience. They are all great musicians and the music is some of the most interesting and original that I've heard in years. Donald W. Thompson? Thanks to Pt. Shama Tai Bhate, a master of Kathak dance and Dr. Arwind Thatte, a most sought after harmonium player in classical Indian music. Both of them spent a lot of time and patience helping me thoroughly understand their music. I'm looking forward to the upcoming concerts and the fact that I'll be playing with four musicians who, for many years, have supported and helped me realise my ideas. Manfred Paul Weinberger |
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