NEU!
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Big4/Sortiléges
Max Nagl
tba
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BOULAZAC
Nagl Wenger Pirker
Max Nagl:
altosax, clarinet, sampler, melodica,toy guitar, steel drums, banjo
Clemens Wenger:
keyboards, toy piano (10)
Herbert Pirker:
drums
all compositions by Max Nagl
3,6,8,12 by Nagl/Wenger/Pirker
recorded March 18 & 19 at Shadoo Studio Wien
mixed May 21 & 23 by Werner Angerer
mastered by Werner Angerer
supported by
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c.o.d.e.
Play the music from ornette coleman and eric dolphy
Ken Vandermark (reeds)
Max Nagl (reeds)
Clayton Thomas (double bass)
Wolfgang Reisinger (drums)
©cracked anegg records
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Wumm! Zack! Vol II
mit Thomas Gansch: trompete
Wilfried Brandstötter: tuba
Patrice Heral: percussion, vocal
Clemens Salesny: sax
Alex Meissl: e-bass
Herbert Pirker: drums
Max Nagl: sax
C+P 2007 rude noises 015CD/2007
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Big Four Live
mit
Max Nagl: alto sax
Steven Bernstein: trumpet
Noël Akchoté: guitar
Bradley Jones: double bass
Total time 57:44, DDD
hatOLOGY 637
c+p 2007
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Market Rasen
Max Nagl
Clemens Wenger
Herbert Pirker
Dedicated to the music of Robert Wyatt
handsemmel records
hanse 1107cd
www.lotusrecords.at
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Rain/Bow
Rain: 1.- 9.
Max Nagl: mélodica, clarinette, sampler,harmonium, guimbarde
Emily Nagl: violon #1
Bow: 10.- 22.
Anne Harvey-Nagl: violon
Maria Ehmer: violon
Petra Ackermann: violon alto
Melissa Coleman: violoncelle
Lorenz Raab: trompette
Clemens Salesny: clarinette basse, clarinette, saxophone sopranino
Max Nagl: saxophone soprano & baryton, clarinette
Berndt Thurner: marimba, glockenspiel
Achim Tang: contrebasse
Patrice Heral: batterie
produit par Max Nagl & ARMO Compagnie Jérôme Thomas.
Cette musique a été composée pour le spectacle Rain/Bow dirigé par Jérôme Thomas.
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Quartier Du Faisan
Max Nagl Ensemble
Max Nagl, Clemens Salesny, Franz Hautzinger, Lorenz Raab, Martin Ptak, Clemens Wenger, Josef Novotny, Achim Tang, Lukas Knöfler, Luis Ribeiro
Total time 65:54, DDD
hatOLOGY 621
Quartier du Faisan isn't merely a compilation of stylistic curiosities but a clear stance on modern orchestra music, an eccentric version of an alpine big band. Perhaps this isn't jazz at all — but without the slightest doubt it is a hymn to jazz. Max Nagl says his music comes about intuitively, he listens, and he picks and chooses to structure it into something that has been unheard of so far. To him, all that matters are colours, iridescent exceptions, surprisingsounds. Thus, jazz is a pool of ideas, a stimulus, a source, no more and no less. — Tilman Urbach
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Der Siebte Himmel in Vierteln
Max Nagl - Komposition
Franzobel - Libretto
Uraufführung: 17.April 2005
Nancy - PRITI COLES
Jaqulin - BEA ROBEIN
Elmar - MARK HAMMAN
Kalafati - MARTIN BUSEN
Georg - DARIUSZ NIEMIROWICZ
Surm - WALTER RAFFEINER
Ensemble - "die reihe"
Regie: Michael Scheidl
produziert von netzzeit
ORF-CD403
Der „Präpräsident" von Tübsdrüüh liebt seinen Hund mehr als seine Staatsgeschäfte. Sein Vater, der dicke Diktator, ist darüber todunglücklich, schläft im Militärzelt und hat eine Umweltaktivistin zur Freundin. Die „Präpräsidentengattin", ein schrilles Opfer des Schönheitswahns, ist ebenfalls unglücklich und kokettiert mit dem „Präpräsidenten"-Sekretär, der - was keiner weiß - ein „Schläfer" ist und den Auftrag hat, die ganze Gesellschaft in die Luft zu jagen.
Einer der erfolgreichsten österreichischen Bühnendramatiker, der Bachmann-Preisträger Franzobel und der vielgestaltige und dennoch unverwechselbare österreichische Komponist und Saxophonist Max Nagl, haben sich zusammengetan um eine Polit-Operette zu schreiben, deren Thema nicht aktueller sein könnte: Es geht um den islamistischen Terror und einen sehr unklugen westlichen Präsidenten.
more...
ViertelText.doc
(deutsch)
ViertelTextENGL.doc
(english)
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Flamingos
Max Nagl - alto, baritone & soprano saxophone
Otto Lechner - accordion, piano & voice
Bradley Jones - double bass
1 Bowling 5:36
2 Pills 5:04
3 Cigar 4:30
4 Essig 3:57
5 Weird Nightmare 4:13
by Charles Mingus
6 Bad Hotel 4:27
7 Frolic 3:49
8 Flamingo 4:55
9 Work Song/ 5:07
Haitian Fight Song
by Charles Mingus
10 Bat Chain 6:20
All compositions (except otherwise indicated)by Max Nagl, Tuhtah Publishing, Suisa
Co-produced SWR Baden-Baden, Redaktion Neue Musik/Jazz & Hat Hut Records Ltd; Digital recording January 27-29 2003 at SWR Studio 1, Günter Eich-Haus; Recorded by Alfred Habelitz;
Editing and Mix by Alfred Habelitz & Peter Pfister; CD master by Peter Pfister; Liner notes by Alex Dutilh, Cover Foto by Elio Ciol, Graphic concept by fuhrer vienna; Produced by Reinhard Kager & Werner X. Uehlinger.
www.hathut.com
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I CRASHED MY SNOWPLOUGH
1. scare 7:09
Herbert Reisinger: drums, Jatinder Thakur: tablas,
Berndt Thurner: percussion, Max Nagl: electronic
2. I crashed my snowplough 7:06
Robbie Avenaim: drums, electronic, Max Nagl: saxophone
3. how to be tool 11:15
Max Nagl: random objects, tools and toys
4. races 4:11
Herbert Reisinger: drums, Jatinder Thakur: tablas,
Berndt Thurner: percussion, Max Nagl: electronic
5. pffffhhhh 4:57
Max Nagl: alto saxophone
6. Radiocafekaffeemaschine 4:38
Max Nagl: field recording at the
Radiocafe in Vienna
7. working on my sax 2:14
Max Nagl: saxophone
Music composed, played and
recorded by Max Nagl
except track 2 by Avenaim/Nagl
rude noises 013CD
C+P 2003
distributed by
EXTRAPLATTE Musikproduktions-
und Verlags GmbH
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BIG FOUR
Nagl, Bernstein, Akchoté, Jones
Hat Hut Records 585
www.hathut.com
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"Wien - West"
featuring Lol Coxhill und Anne Harvey-Nagl
(2001)
1. hupe
2. bahnhofswalzer
3. vorteilskarte
4. servas
5. krug
6. hund mir streicher
7. linz train six
8. euro city 563 ars electronica
9. wie.westb.
10. mit dem zucker
11. signalwirkung
12. achtl rot mit lol
13. stay in vienna?
14. bhüan eisnwuazn
15. miasegnse
16. bahnhofswalzer II
composed, played and recorded by Max Nagl
September/October 2000
12. composed by Max Nagl & Lol Coxhill
Anne Harvey-Nagl violin - track 2 & 16
Lol Coxhill soprano saxophone - track 12
Robert Matejka concept & editor
design by www.url.at
mastered by Josef Novotny
im Auftrag von Deutschland Radio Berlin
www.dradio.de/
special thanks to Robert Matejka, Lol and Anne
rude noises 012 im Vertrieb der Extraplatte
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Ramasuri
Max Nagl Ensemble
(2001)
released on HATHUT
Joanna Lewis: violin
Melissa Coleman: cello
Noël Akchoté: guitar
Thomas Gantsch: trumpet
Max Nagl:saxophones
Otto Lechner: piano&accordion
Achim Tang: bass
Vincent Wizlsperger: bass&tuba
paul Skrepek: drums
Patrice Heral: percussion
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The Evil Garden
(2001)
Released on November Music
saxophone - Max Nagl,
guitar - Noel Akchoté,
saxophone - Lol Coxhill
percussion - Patrice Heral
keyboard - Josef Novotny
vocals - Julie Tippetts
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strichcode
Max Nagl Quintett
(2001)
Joanna Lewis: violin
Max Nagl: sax, melodica, electronic, harmonium werk mit lochstreifen und zange
Josef Novotny: piano, cembalo
Achim Tang: bass
Patrice Heral: percussion
1 Mercedes 4:41
2 Said Bar 3:10
3 walz d'lola 3:13
4 Naphtalin 7:51
5 Deal 5:18
6 Circus - Wie wär's 4:46
7 Zajazi 10:00
8 ...soda. 2:02
Composed by Max Nagl
Recorde 6.& 7.11.2000 by Stefan Zlabinger
Mixed and Mastered: Josef Novotny
Cover: Na-No
Produced by Max Nagl
C+P 2001 rude noises 011
Im Vertrieb der EXTRAPLATTE
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HIDDEN WHISPER
Original Motion Picture Soundtrack by Max Nagl
A film by Vivian Chang
Otto Lechner: Accordion
Koehne String Quartet
Max Nagl: sax, piano, synthesizer, diverse Instruments
recorded at 4 tune Vienna April 2000
November Music, promotion only
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One Plus One
Original music by Max Nagl
Directed by Christine Gaigg
(1999)
Im Vertrieb der EXTRAPLATTE
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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RAYUELA
MAX NAGL
(1999)
1. Salsa Picante 3.38
2. The time falling bodies take to light 10.44
3. Soff 2.34
4. Philishave 5.21
5. Kim-chi 2.13
6. Pas de deux 3.05
7. Stille Nacht 3.58
8. Tortur 4.06
9. Birds 7.05
Music played, composed and recorded by Max Nagl
7. composed by Franz Gruber
8. composed by Anne Harvey, Patrice Heral, Max Nagl
6 & 8 Anne Harvey: violine
6 & 8 Patrice Heral: tablas
mastered by Josef Novotny
2, 6, 8 and 9 were composed for dance pieces - choreographed by Christine Gaigg
for "2nd Nature Dance Group".
3 and 4 were recorded for "Theater ohne Grenzen" but not used in this form.
"Rayuela" is named after a book by Julio Cortázar.
C + P 1999 rude noises 010 CD
"Hormis deux interventions ponctuelles (P.Héral aux tablas et Anne Harvey au violon), Rayuela est bel et bien le nouveau solo de Nagl. Complétement différent de deux disques précédents, celui-ci pronlonge logiquement les conceptions développées dans ses solos antérieurs, qui favorisent l´expérimentation, le collage, le bruitage et l´entrechoc: l´accent est aigu, porté sur le climat à tendance imprévisible (au loin se profile une bourrasque peu catholique, ici quelques gouttes d´eau sur les têtes, attend-on, faut-il rentrer? Se barricader? Le spectacle sera-t-il magnifique ou dangereux?...).Un bel example d`éclectisme véritable." Marc Sarrazy, Improjazz
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FALARM
MAX NAGL TRIO
(1999)
Max Nagl: saxophon
Vincenz Wizlsperger: bass
Paul Skrepek: drums
1. Kuckuck 6.26
2. Herr von Herzen 2.19
3. MC 80 11.23A
4. Nagellack 3.07
5. Falarm 5.24
6. Wisgl 6.04
7. A Beduin 4.20
8. Weehawken 5.33
9. Breakstone 4.42
10. Knopf 2.22
1 - 3 composed by Vincenz Wizlsperger
4 - 10 composed by Max Nagl
recorded live in concert at Jazzgalerie Nickelsdorf and at Blue Tomato/Vienna - spring 1999
mastered by Josef Novotny
lowest-fi production
C + P 1999 rude noises 009 CD
"Falarm, délivré par le Max Nagl Trio, s`éloigne délibérément de One Plus One pour s`ancrer de plain-pied dans la "tradition" du trio free jazz type le Scorpio d`Arthur Jones. Une batterie tout à fait séche et foisonnante, mais un contrabassiste qui par endroits manque d`audaces. Le plus savoureux étant lorsque Max Nagl assoit son alto entre deux demi-tons et en pétrit le chant: le sons alors s`ètire, se ramollit ou au contraire, se rafermit, raille, baille, et comme tojours aussi, ce gros travail sur les nuances, témoignant d`une grande sensibilité." Marc Sarrazy, Improjazz
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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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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)
Released on November Music
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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Musik für einen Kirchenraum
Max Nagl
(1998)
Josef Novotny: Orgel
Lydia Vierlinger: Alt
Max Nagl: Sax, Sampler
Im Vertrieb der EXTRAPLATTE
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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Mélange à trois
Max Nagl Quartett
(1997)
Joanna Lewis: violin
Max Nagl: saxophone, melodic, sampler
Josef Novotny: piano, cembalo
Patrice Heral: percussion, vocal
Im Vertrieb der EXTRAPLATTE
"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
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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
Im Vertrieb der EXTRAPLATTE
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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Daily Bullet
Max Nagl
(1996)
Im Vertrieb der EXTRAPLATTE
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)
Im Vertrieb der EXTRAPLATTE
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
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Blattl-Lieder * Max Nagl & Friends
with The Seinehonsingers
Lied des sterbenden Wildschützen Johann Steiner 1 - 16, 37.27. min
Max Nagl: saxophone
Josef Novotny: piano
Achim Tang: bass
Patrice Heral: percussion, vocal
The Seinehonsingers, cond: Johannes Puchleitner
Text: Christian Blattl
Musik: Max Nagl
recorded live on 14. November 1998 at Festsaal der Hauptschule St. Johann in Tirol
by ORF Tirol
Aufnahmeleitung: Gunter Schneider
C+P 2000 idyllic noise - extraplatte
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Bärenoper
(1994)
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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
Im Vertrieb der EXTRAPLATTE
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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Go Fred Go
Go 4 it
(1991)
Andreas Tieber: 6-String & Fretless Bass
Konrad Schrenk: Guitar & Synth-Guitar
Christian Mühlbacher: Drums
Max Nagl: Alto Sax
Side A:
1.What you ever wanted to know about Jazz (Schrenk) 1:37
2.Frankie goes on Holidays (Schrenk) 4:33
3.Fred Dance (Nagl) 3:50
4.Ziemlich Fad - 60m Brustkraulen (Nagl) 1:48
5.Dawn (Nagl) 4:00
6.500; 500 (Nagl) 0:32
7.Double Points (Nagl) 0:53
Side B:
1.Go Fred (Mühlbacher) 3:23
2.Voice Poetry - Macho Woman (Coleman) 3:07
3.Jo Anger (Nagl) 1:20
4.The Secrets Of A Toilet Seat
[The Hooker Gave You More Than You Bargained For] (Schrenk – Nagl) 1:30
5.Hard Knox (Nagl) 2:38
6.Warm Valley - Tyrolian Love Suicide (Schrenk) 7:45
Very special thanx to Dorli Polster for her voice on side A, take 1
Recorded&Mixed August 1990 at " Olympia" Tonstudio/Vienna
Engineer: Christian Leitgeb
Backcoverphoto: Hannes Novohradsky
Cover & Design: Hans Luif & Michael Trimmel
Produced 1990 by Go 4 it
EX 127 091
"Interesting things happen in Vienna. The common link between these two (see Lunatic Fringe) is alto saxophonist Max Nagl. Away from the outfish bellowing of the singer in Manhattan Love Suicide (Nagl´s punkjazz vehicle) he proves to be a discerning ctalyst. Go Fred Go is the less interesting disc, simply because the genre is familiar: the quality rockjazz interface beloved of the Enemy label. Themes are nicely harmolodised, the playing tight but tame. The would-be Zappa-esque contortions too often lapse into mere Roadside Picnic-ness. Fun but hardly essential." The W I R E - Ben Watson
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enormous nitemare
Manhattan Love Suicide
(1991)
Jonny Griebler: handmade doubleneck 4 & 6 string guitar, vocals, trumpet on 8,15, 22,23, tenorsax on 13, 19, 27.
Willi Freigner: drums & metals.
Max Nagl: sopran-alto-bariton saxes,
harmonizer, whining on 12.
1. Laugh Suicide at CB´s 0:39
2. Red Eyes 0:25
3. Torture Rack 1:48
4. Golgota Utca 1:37
5. Sewing Tendencies 0:57
6. Expierciences 0:50
7. Dröhnung! 1:58
8. Desert Obstruction 1:46
9. Ruin Find 2:25
10. Enormous Nitemare 1:58
11. Sweet Gwendolyn 2:16
12. Lucy 2:02
13. Shriek me, Freak me! 1:29
14. Condom yourself 0:53
15. Inferior Work 0:41
16. Horse Fly 1:10
17. VAZAAAAAPP!! 1:50
18. Letter to Michelle 0:58
19. Nervous Wracks 3:13
20. Speechless 2:30
21. Shithead 1:57
22. Burn Baby Burn 0:48
23. Still Burning? 4:24
24. Abkauen 1:37
25. Coney Island 1:16
26. Honeysuckle 2:59
27. Catch me 2:17
28. Vodka King 1:38
29. Slamface 0:59
30. Short and pregnant 0:20
31. Dostojewskij loses his last shirt 4:20
32. Der Flagellant 5:45
Time 60:08
Track 31 is from the LP "Manhattan Love Suicide" MLS 001
Track 32 is from the LP "Unerhörth!"
EX 95
Words partially used from poems by Tuli Kupferberg, Ed Sanders, Aram Bajaran, Leonore Kandel and MLS.
30 songs recorded live at "Am Kanal" by Rudi Mille 6-7 April 91.
Cover by MLS and Alex Janda. Outside photos by Jommy Griebler.
Inside Photo by Alex Janda. Played as heard.
Produced by Alex Janda. Copyright by MLS.
Austro Mechana 070491
LC 6220
C + P 1991 Suicide Records 004
"Punkjazz raises it´s brylcreemed spikes again. Manhattan Love Suicide are from Vienna, 32-tracks-per-hour free improvised punk-art-poetry and chaos. The longer tracks – "Ruin Find", "Still Burning" – are good free improvisations, creating a space to inhabit, evocative yet tinged with a sense of discovery. The big drawback is the vocals. Jonny Griebler is a fine guitarist but he has not understood that the art of punk vocals is to sound underfed. "Shithead" – chaotica sub-Beefheart rock with some man bellowing about revolution and motherfuckers – is the pits. The fugs as the godfathers of punkjazz – God save us from Greenwich Village and I mean it, man." The W I R E march 1992, Ben Watson
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Unerhörth!!!
Manhattan Love Suicide
(1989)
Willi Freigner: Drums
Max Nagl: Saxophones
Jonny Griebler: Voc., Guit.
This side
1.Killing Ambulances 4.14
2.Art No Ty 1006 1.05
3.Suicide Machines 1.15
4.Galoppierende Satteltaschen 2.07
5.Stoned Pigs 2.42
6.Rülpston Z. 1.20
7.Sich Auf Allen 4-en Rückwärts Bewegende Trauergemeinde 3.50
8.Der Flagellant 5.45
The other side
1.Manhattan Love Suicide 7.34
2.Die Folle Monath 1.45
3.Singer Pfaff Naumann 2.55
4.Der Siebente Schlüssel 3.05
5.Zeck Attack 1.53
6.Unerhörth 5.05
All titles fully improvised.
C 1989 by MLS.
P 1989 by Alex Janda.
Recorded live in June 1989 on 4-track at Jonny?s.
Remixed and mastered by Rudi Mille.
Cover Art by Jonny Griebler.
Lyrics by Ed Kittl.
Coverrealisation by Vienna Paint.
Extraplatte
AB 00 89
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AMen#
(1989)
Josef Novotny Orgel
Synthesizer
Max Nagl Altsaxophon
Altblockflöte
Mundstücke
Die Musik ist ein Bekenntnis zur europäischen, insbesondere zur österreichischen Tradition, beeinflußt natürlich von vielen kulturellen Impulsen und Strömungen, mit denen wir konfrontiert sind. Der Bogen spannt sich vom traditionellen Kirchenlied über die klangliche Gestalt der Wiener Schule bis hin zur Jazz -Avantgarde. Die Stücke sind größtenteils Improvisationen, basierend auf fixierten Computerprogrammen, vorgefertigten Klangkombinationen, die jeweils die Form und den Ablauf bestimmen. AMen #
1. Dip Srod 3.40
2. Birdcage 2.40
3. Beaceha 6.10
4. Painthaus 5.20
5. A Faust wia auf´s Aug! 2.17
6/8. Jessasmaria 5.16
9. Nylonsechzig 7.22
Alle Stücke komponiert und arrangiert von Josef Novotny und Max Nagl außer # 6/8 (trad.) arrangiert von Josef Novotny und Max Nagl
C + P 1989 Extraplatte
EX 96 CD (EX 960089CD)
Produziert Josef Novotny & Max Nagl
Aufgenommen 5.7.1989 Live in der Pfarrkirche in Perchtoldsdorf
Techniker Rudi Mille & Thomas Lang
Bild Jonny Griebler
Photos Hannes Novohradsky
Layout Mike Schot
" Here the austrian alto saxophonist Max Nagl pairs up with a hitherto unknown (to me) keyboard player, Josef Novotny, for a session inside a cavernous-sounding church. The star of the session, as you might guess, is the recording space: the manner in which the architecture sustains and redoubles notes makes it truly sound like the building itself is an instrument on a par with the other two. Accordingly, the two musicians are prone to tricks of atmosphereics, which sometimes work and sometimes don´t. Novotny´s cyclical opening and closing cadenzas in Dip Srod is compelling in a precise, Phillip Glass-like fashion, and Novotny´s storm and explosion imitations on synthesizer make the recording a curiosity, but the musical result is largely gimmickry. Massive sounds like this encourages a musician´s inclinations toward slouching, and that´s never a good thing. Still, when Novotny plays church organ, things get more interesting; that may be because the design was already there for it. By far the best track is Jessasmaria, which really does make great use of the space with it´s string of centuries-old, ethereal church melodies."
EAR magazin, Ben Ratliff
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Manhattan Love Suicide /
Max Nagl - La Belle Est Black
(1988)
Split LP
Willi Freigner: drums, objects
Jonny Griebler: git., voc.
Max Nagl: altosax, tapes, mouthpieces
1.Cinemash/dope 5:15
2.Wolken über Wien 4:45
3.Deutlich spürbare Erleichterung 2:45
4.Dostojewskij loses his last shirt 4:20
All titles composed and produced by Manhattan Love Suicide.
Recorded live on 4-track Aug. 1988 by Thomas Gottwald at Jommy?s.
Remixed and mastered by Rudi Mille.
Words by Ewald Kittl.
CoverDesign by Willi Freigner.
1.Longing 1:45
2.Maulsax 1:45
3.Einknickende Oberkörper 1:20
4.P.S. 122 1:22
5.Ritual (The Camels are breaking together in the Sahara) 3:50
6.N.Y. City Cop 2:30
7.La Belle 4:10
8.Tonjournal 2:15
Mach die Augen zu was du dann siehst gehört dir
All instruments played by Max Nagl. Composed, performed, recorded on 4-track Dec.8-10th 1988 and produced by Max Nagl. Remixed and mastered by Rudi Mille. 5, 7: Computerprogramming by Josef Novotny. 4, 8: Female voice: Susanne Casten. 3, 5, 7: composed for dance performance choreo-graphed by Sigrid Seberich and Susanne Casten.
CoverDesign by Willi Freigner
MLS RECORDS 01
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