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Monika Roscher Big Band (DE)

The Monika Roscher Big Band was born during a study seminar at the Musikhochschule München. An original composition for big-band earned the 1984-born jazz guitarist so much praise from all sides that she decided to continue on this path. Together with friends and fellow students, who form the core of the cast today, Monika's graduation concert in the summer of 2010 was converted into the first celebrated public appearance of her big band. From then on things went fast. As soon as the bandleader had left the backstage area, the producer Philipp Winter, who was in the audience, offered to record a CD. With the result, the band applied for a scholarship to the City of Munich and was promptly rewarded with a music scholarship from Bavarias capital. At this time, the band is existing only since half a year.

Enough time to break with just about any listener expectation tied to a classic big-band line-up. Those who expect traditional swing à la Count Basie and Duke Ellington are completely wrong. Although the compositions are related to jazz, in terms of spacious harmony and extended solo parts, the special attention to - sometimes cinematic - sound textures and the colorful, emotionally directly accessible pictorial shows a tight intellectual closeness to the contemporary music scene of indie, electro and triphop. This sounds rather "dangerous" - at least that's what an enthusiastic Monday demo jury at Radio Zundfünk thought, which Thees Uhlmann also belonged to. The usually German-speaking Tomte boss was even tempted to shout out "this shit is berserk!".

In December 2012, the band celebrated the release of their official debut album "Failure in Wonderland" at the Atomic Café, the indie temple of Munich. The CD was released by the jazz label Enja. Since then, the waves beat higher and higher - Zeit Online, Süddeutsche Zeitung, Stern, Deutschlandradio Kultur, Le Monde, the Jazzzeitung with a cover story, or the US Downbeat - oldest and biggest jazz magazine in the world - were enthusiastic about the album and about the idea of an indie big band.

In 2013, the band toured all over Germany and beyond. Highlights included performances at the Fusion Festival, which is already enjoying cult status throughout Europe, a double concert at the international South Tyrolean Jazz Festival and the final concert of the Berliner Jazzfest broadcast live on the radio, where the band shared the stage with jazz legend John Scofield. The Frankfurter Allgemeine spoke of an "incredible performance level" of the young musicians and the "surprise of the season".

In 2014, the band is awarded the Echo Jazz as "Newcomer of the Year National", a music scholarship of the city of Munich and the Bavarian Art Prize. Downbeat listed them as "Rising Stars" in his annual review of the critics.

Just one of many opinions:
"Together with her magnificent crew the guitarist and singer Monika Roscher played an unconventional "Bigband" sound with a cutting wind set and Leonard Kuhn's concise electronically generated sounds; a completely successful sound experiment of indie-pop, rock and improvisation. The audience applauded the ensemble with standing ovations at the end of the concert. "
Jazzzeitung, August 29, 2017, Thomas J. Krebs for the concert in the Elbphilharmonie in Hamburg.

Now, (this is for the insiders): With this Big Band LineUp we will make our Gunnar sweat heavily:

Saxes:
Julian Schunter: Alto
Jan Kiesewetter: Alto, soprano
Jasmin Gundermann: Tenor
Michael Schreiber: Tenor
Heiko Giering: Bass Cl, Bari Sax

Trumpets:
Johannes Schneider
Angela Avetisyan
Matthias Lindermayr
Julian Hesse

Trombones:
Alistair Duncan
Lukas Bamesreiter
Christine Harris
Jakob Grimm

Rhythm section:
Leonhard Kuhn: Electronic Sounds
Josef Ressle: Piano
Ferdinand Roscher: Bass
Silvan Strauss: Drums

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Gabba Zappa Hey!

Gooble, gobble … Gabba gabba hey! … Gabba Zappa Hey!

Almost 80 years ago, the movie "Freaks" was produced, in which the protagonist sang "Gooble, gobble, we accept her, we accept her, one of us, one of us!" in one scene.

Forty-five years later, the Ramones took up this line modified in their song "Pinhead": "She was gabba gabba hey, and would not be offended by the freaks, she was after all a freak herself".

"In the evening they went to bed late, in the morning they got up later, their battle cry was refreshingly brainless: Gabba Gabba Hey." Berliner Zeitung, 2000

With Gabba Gabba Hey! a catch phrase was born, with which quite special persons, but also euphorically a condition were described from then on. For example, by a reviewer, who was fittingly talking about Zappas album "Freak Out!". He ended his text with the words: "You have not completely lived your life, if you have not heard this album yet. If you get it, gabba gabba hey! If not, it's a damn shame! "(and he's damn right!)

So, the only logical path to tread for Gabba Zappa Hey! was: Starting with Freaks and Gooble Gobble and passing the hereby inspired Zappa with Freak Out! to the Ramones with gabba gabba hey.

A fairy tale? … A legend? ... pure imagination? ... Maybe, but you could imagine how three London guys with an addiction to punk (rock) reinterpret Zappa. A culture shock? Certainly! Blasphemy? Let everyone decide for themselves! But we certainly do not want to keep that away from you.

People, it gets loud, it gets heavy, it gets DIFFERENT !!! Two to three minutes per title ... that must be enough, some bonds to various punk bands and in a way still Zappa!

The Zappateers are already freaking out if they only hear the name. Gabba Zappa Hey! is wildly (!) celebrated and we can well imagine that they will equally enthuse us at Zappanale. That's why we got them for the warm-up party to fuel you up for the festival. Bad Doberan will be thrilled ... most residents (including those who stayed at home) will probably know what's going on at the Kamp, according to the motto: if it is too loud, you are too old!

If you can not get enough of them, you have the chance to experience GZH! all you can see and hear at Zappanale: first at the WarmUp party, then at the special events in the exhibition, Am Markt 3. On Friday, they will shake the showcases starting at 11.00 AM. And again on the Mystery Stage on Sunday afternoon.

Gabba Zappa Hey! are a London-based trio who play the music of Frank Zappa in a 70’s Punk style. Whilst their songs are delivered with a relentless Ramones 1234, there are many discarded corpses of other classic punk songs scattered amongst their frantic set. How many can you spot?

They have already attracted many notable admirers in their short career…

“The best one trick pony of a band you’ve never heard in your life, there’s no stoppin’ these cretins from hoppin’ “
(Andrew Greenaway, author of Zappa The Hard Way and Frank Talk, The Inside Story of Zappa’s Other People)

Gabba Zappa Hey! Are coming to get you…. Punk meets Zappa! It CAN happen here….
(Tim Op Het Broek, Poet, Lover, Hairdresser to the stars..)

Personally, I cannot see the point of reproducing well-known records in public. There is a lot of that in rock these days, and it seems to me like a descent into the soul-dead repertoire-fixation of "Classical" performances. I like a twist, an insight, a surprise, not just the same old same old. So seeing Gabba Zappa Hey! knocked my proverbial socks off. They play Zappa tunes as hardcore punk ditties, barking out numbers like "Lemme Take You To the Beach" and "Frogs with Dirty Little Lips" with a London aggro reminiscent of UK Subs (one of my favourite punk bands). In doing so, GZH! heal a rift which has scarred me for years, which is the punks' disdain for Zappa ("hippie!“) and Zappa's disdain for Punk. If you like both, as I do, you tend to be disdained by both "communities"! Zappa vs. Punk was fought out in the pages of New Musical Express in the late-70s and early-80s, and explains why there was never the kind of Zappa-worship here you got in the DDR and rest of eastern Europe: Zappa's disdain of Punk made him deeply unfashionable. Charles Shaar Murray, NME-writer and a total Mothers of Invention freak back in the day, presented FZ with the Sex Pistols, only to be told this was rubbish designed to sell boutique clothes (CSM's early journalism was replete with references to Zappa; so much so, that I think "punk", not a common English word at the time, was itself borrowed from "Hey Punk" on We're Only in It for the Money). Punk style comes naturally to British rock musicians. As the late Charlie Mitton pointed out, punk distilled a certain urgency and brittleness which informed Brit blues of the 60s. What was previously seen as a defecit was reinterpreted as a plus. So Gabba Zappa Hey! also solve the old "trying to be American" curse of Prog. They are a great band, and had me dancing upside down for the first time in my life (never having witnessed the Cardiacs, you understand). The kids thought I'd gone nuts.
(Ben Watson, author of Frank Zappa: the Negative Dialectics of Poodle Play)

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PinioL (FR)

PinioL (Dur et Doux - FR) is the lustful and strapping meeting of the seven musicians from PoiL and Ni together on stage (2 drums, 2 guitars, 2 bass and a crazy keyboard).

Make no mistake: when dealing with PinioL, you shouldn’t put the spectacular side of the formula before the music. Of course, on paper, this 7-headed Hydra clearly stands out from the French musical landscape. In an ever-growing trend of simplicity (be it in the line-up or the music, precisely), PinioL set no limits. Born of the spontaneous reunion of two bands (Poil and Ni), PinioL (yes, there’s a pun, but you need to know French slang…) have, from day one, chosen to occupy various musical grounds, all of them wild and free (noise, jazz, avant-rock, math) while cultivating a permanent research and perpetual movement, like only 7 brains can create.

On stage, PinioL are two bass/drum/guitar trios, one on stage left and the other on stage right, separated, or maybe linked, by a keyboard player, the central and converging point. All these elements put together give an impression of strangeness: Are we seeing double? Maybe yes, maybe no, but definitely, that state of uncertainty is an invitation to lose your senses and surrender. You are expected to give in to the unclassifiable music - a music that is both well thought out and (un)intentionally primal - that you will hear on Bran Coucou, the latest album produced and released by Lyon-based collective Dur Et Doux. From frontal bits to dry and stocky sections, PinioL won’t chose between maxi and minimalism and state their singularity loud and clear in their syncretic approach of musical extremes that could be quite hard to associate at first sight.

The result is a good surprise: Bran Coucou is amazingly digestible and will have a single consequence: the need to see the whole thing live. For the stage is without a doubt the favourite playground of this one-of-a-kind league (accompanied by the sound creations of Florian Bardet and Judicaël Brun, and the stage design and lights of Pierre Josserand) that make each concert a true audio and visual immersive experience. You get it, the PinioL maze has several entrances but only one way out: ecstasy!

Line-up
Antoine ARNERA | Keyboard, vocals
Boris CASSONE | Bass, guitar, vocals
Guilhem MEIER | Drums, vocals
Anthony BEARD | Guitar, vocals
François MIGNOT | Guitar, vocals
Benoit LECOMTE | Bass, vocals
Jean JOLY | Drums

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Bozzio-O’Hearn-Cuccurullo Power Trio special guest Denny Walley (US)

Patrick O'Hearn

was born in Los Angeles on September 6, 1954, grew up in Oregon and began his musical career at the age of 15 on bass. He appeared together with his parents - both professional musicians - in various nightclubs. Later he studied music with a focus on cello, flute and violin.

After graduation, he moved to Seattle in 1972 to increase his skills in playing the bass as part of a private study with Gary Peacock.

In 1973, he moved on to San Francisco, where he quickly connected to the then flourishing jazz scene. He played bass with established musicians such as Charles Lloyd, Joe Henderson, Dexter Gordon, Joe Pass, Woody Shaw, Eddie Henderson and Bobby Hutcherson.

From mid to the end of the seventies he became a musician with Frank Zappa and a.o. played on the albums Sheik Yerbouti, Zappa New York, Sleep Dirt and Joe's Garage.

He then co-founded the Progband Group 87 and then followed the invitation of Terry Bozzio to play along with the Missing Persons. Since that time he is intensively occupied with keyboard instruments and electronic music.

In 1985 he began his solo career, becoming well-known as a composer for movie soundtracks.

Terry Bozzio

was born on December 27, 1950 in San Francisco. At the age of 13 he started his first drum lessons and later completed a music study. Previously, he assembled all (im)possible household items to work them in the rhythms of albums by Tito Puente or the Ventures. Blue Glass Radio, The Yard and Tamalpai's Jungle Mountain Boys were the names of the first bands he played with.

Already in 1972 he was involved in his first recording. This was played by Luis Gasca and no other than George Duke was one of the producers.

He joined Frank Zappa in 1975, has worked on ten of his albums, and has been involved in three world tours. For Zappa he occasionally played the role of the clown entertainer, who is good for any of the often crude and obscene jokes on stage. On the album "Zappa in New York" he duels with Zappa as a canned-beer-destroying brides-eater in "Titties & Beer" ... a great role and a legendary track!

But it was certainly not for these actions that Terry joined Zappa's formation. He was one of the few drummers to pass the black-page test. Such a complicated title, which made the sheet almost black. This nightmare for any musician can also be heard on "Zappa in New York" (as well as on Halloween `77, Läther, Hammersmith Odeon and Baby Snakes). In 1978 he was kicked out of Zappa’s Band, when he joined the band Group 87, in which a.o. Patrick O'Hearn and Peter Wolf were playing.

This was followed by recordings and sessions with the Brecker Brothers, UK, the Missing Persons, Robbie Robertson, Mick Jagger, Deborah Harry, Dweezil Zappa, Lonely Bears, Polytown, Gary Wright, Don Dokken, XYZ, Paul Hyde, Herbie Hancock, Richard Marx, Alan Holdsworth, Pat Mastelotto, Jeff Beck and countless solo concerts to this day. And the appearance at Zappanale #20 on 16 August 2009 can be found in the very extensive biography on his website too.

Warren Cuccurullo

was born on December 8, 1956 in Brooklyn, New York. He started playing drums and guitar at an early age. He was a fan of Frank Zappa already as a teenager and attended all his concerts within 500 miles around Brooklyn. He met Terry Bozzio and Patrick O'Hearn in the mid-70s. The three became friends. Finally, in 1978, he even made it to Zappa's band. Zappa was heavily impressed by Cuccurullo, who was able to do his most tricky guitar parts.

After several live gigs Zappa went to the studio to work on the album Joe's Garage. Cuccurullo not only took over the rhythm guitar parts, but also a lot of vocal performances, together with Terry Bozzio's then wife Dale. Along the way, both Terry and Warren wrote their own songs and finally the idea came up to found their own band ... the Missing Persons emerged. Patrick O'Hearn and Chuck Wild were added.

First contacts to Duran Duran came about as both bands were under contract with Capital Records. In 1986 Cuccurullo first joined Duran Duran as a session musician for the completion of the album "Notorious", but then became a longtime band member until 2001. Therefore, he rejected Zappas offer to join him on his 88 tour.

In the early 1990s, Cuccurullo started a collaboration with Nick Rhodes (then also with Duran Duran), Mark Tinley (keyboard engineer with Duran Duran) and producer / multi-instrumentalist Anthony J. Resta in the band TV Mania. The most interesting anecdote from this period is probably that Rhodes and Cuccurullo composed a title track for the Bond film "Tomorrow Never Dies". However, this was rejected and released under the title "Last Day Of Earth" by Duran Duran with a modified text.

In 1994, Cuccurullo recorded the album "Thanks 2 Frank" within just ten days with Vinnie Colaiuta on drums.

In 2010 Cuccurullo founded the free jazz formation "Theoretical 5" with Arthur Barrow (bass), Tommy Mars (keyboards, vocals), Larry Klimas (saxophone) and Andy Kravitz (drums, percussion). In the same year the video for the track "Happy Feet" part 1 was uploaded to YouTube. To date, it has a whopping 5,100 views. The track "Senator Byrd" on only 800 calls in 8 years.

During the following years, several more discs appeared with the participation of many different musicians, such as Terry Bozzio, Lakshminarayana Shankar, Patrick O'Hearn, Pino Palladino, Joe Travers and Nick Beggs.

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Zappanale #30

19. - 21.07.2019
The Torture stops in 334 days!
19. - 21. Juli 2019
The Torture stops in 334 days!