CDs

RUDE NOISES

m.n. plattinger
MN5 – Pdorvk
Max Nagl – >:<
Max Nagl Ensemble – Live at Porgy & Bess Vol.3
Max Nagl – Koehne Quartet
Exit in Fahrtrichtung
Max Nagl Ensemble – Live at Porgy & Bess Vol.2
Manhattan Love Suicide 1991
Daumenkino
Max Nagl feat. Lol Coxhill
Max Nagl Ensemble – Live at Porgy & Bess
Irresberg
Parzival
Big4/Sortiléges
Boulazac
Wumm! Zack! Vol II
Rain/Bow
I crashed my snowplough
Wien-West
Strichcode
Rayuela
Falarm
One Plus One
Musik für einen Kirchenraum
En Passant
Bärenoper
Mélange à trois
Super 8
Ohlsdorf 18

JAZZWERKSTATT-RECORDS

Moped

ORF Edition

Der Siebte Himmel in Viertel

HANDSEMMEL RECORDS

a day in my live
c.o.d.e
market rasen

HATHUT RECORDS

Big Four
Big Four Live
Flamingos
Quartier Du Faisan
Ramasuri

NOVEMBER MUSIC

The Evil Garden
Boxing Lulu
Cafe Electric
Hidden Whisper (Promotion)
Mélange à trois (Rerelease)
Taboo (Promotion)

LEO RECORDS

Daily Bullet

MLS-RECORDS

enormous nitemare
MLS/La Belle Est Black

EXTRAPLATTE

AMen#
Blattllieder
Go4it
Lunatic Fringe
Unerhöhrth!!!
Wumm! Zack!

Pdorvk (2020)

Max Nagl alto sax
Martin Eberle trumpet
Phil Yaeger trombone
Georg Vogel piano
Gregor Aufmesser bass

1. 2 3 B 5:14
2. p d v o r k 5:20
3. m i t t w o c h 2:04
4. p l a f o n d 4.23
5 .b u l o v a 4:16
6. m o r g e n 4:45
7. t r a u r i g 1:30
8. s a b o t a g e 4:18
9. k e r v e h r t 2:35
10. e r n a 3:10

all compositions by max nagl
#1 by Anthony Braxton
#6 contains musical quote from
“emotion“ by bilderbuch

fotos Hans Klestorfer
graphic Johannes Novohradsky
Vienna, March 16, 2019 , April 28 (tracks 1 & 9), 2018
thanks to Martin, Phil, Georg, Hans, Hannes, Werner.
Mille Grazie Gregor!
supported by SKE

rudenoises 30
c+p max nagl 2020

m.n. plattinger (2020)

plattinger 2 : vvokk 7 : plattinger 5 : zimmer 3 : vvokk 5 : vvokk 9 : zimmer 4 : plattinger 3 : zimmer 6 : plattinger 13 : zimmer 5 : vvokk 8 : plattinger 7 : vvokk 6 : plattinger 11 : zimmer 2 recorded march/april 2020
max nagl: plattenspieler sampler saxophon bass reivalk

rude noises 29
c+p max nagl 2020

>:< (2020)

1. Dersit 3:39
2. Ursup Grasp 2:18
3. Ozu 2:39
4. Malaig 1:51
5. La Kimba 1:27
6. Mordent 1:49
7. LFD 0:49
8. Guo Bin* 3:32
9. Malheur 3:17
10. Twin* 1:16
11. Badewanne 0:38
12. Untan 2:46
13. Dersit Reprise 2:26
14. am Gang 0:22
15. gelbes Auto* 3.23

composed, played and recorded by Max Nagl

Max Nagl: saxophones, clarinet, sampling keyboard, synthesizer, melodica, steel drum, bass, guitars, glockenspiel, percussion, kalimba, autoharp, ballaphon, toys.
*Max Nagl jun.: piano, guitar, bass, beats

recorded July 2019 in Vienna
mastered by Werner Angerer

rude noises 28
c+p nagl max 2019

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MOPED MN3 (2020)

1. 50 Grand 2:54
2. Noodles 2:06
3. Stanley 2:13
4. Aal 2: 47
5. Moped 5:23
6. Jettel 1:20
7. Stein 5:19
8. Bleistift 2:09
9. Samstag 3:05
10. Fenster 3:16
11. Amalienbad 1:18
12. Klepto 2:49
13. Wolle 1:41
14. Opal 1.40
15. Syrup 5:21

All compositions by Max Nagl
Max Nagl: alto saxophone, melodica (3,5), guitar (5)
Clemens Wenger: keyboard, MS-20 synth
Herbert Pirker: drums, percussion

recorded January 2019 at Mackador Studios
and mixed by Herbert Pirker
mastered by Werner Angerer at Acoustic Art Studios
produced by MN3
c+p max nagl 2019
jazzwerkstatt-records.com JWR01/20
supported by SKE

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Max Nagl Ensemble
Live at Porgy & Bess Vol.3 (2018)

1. Drama 4:59
2. Hunter Road 5:09
3. Rapsodie 6:32
4. Pamelia 2:47
5. Schweissfilm 5:45
6. Don Muang 4:54
7. Trampolin 4:26
8. Bulova 4:19
9. Kapuze 4:05
10. Hunter Road Reprise 1:19

Pamelia Stickney: theremin
Joanna Lewis: violin
Anne Harvey-Nagl: violin
Clemens Salesny: alto- tenor saxophones, clarinet
Max Nagl: alto- soprano- bariton saxophones, guitar(7)
Martin Eberle: trumpet
Phil Yaeger: trombone
Clemens Wenger: keyboard
Manu Mayr: bass
Herbert Pirker: drums


all compositions by Max Nagl
recorded live at Porgy & Bess Vienna January 17, 2018
recorded, mixed and mastered by Werner Angerer
rude noises 27/2018
supported by SKE

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Max Nagl – Koehne Quartet
(2018)

1. La Ricotta 16:27
2. Adebar 3.19
3. Brochen Glas 9:52
4. Disturbances 10:38
5. Radlwand – Radlwand 2:16
6. Goas 2:27
7. Bamdal Fuebre 9:03
8. Schneckenpflaster 3:51

all compositions by Max Nagl

Koehne Quartet:
Joanna Lewis – violin
Anne Harvey-Nagl – violin
Lena Fankhauser – viola
Melissa Coleman – cello

Max Nagl – alto saxophone (1,2,3,4,7,8), tubes, slide whistle, toy piano (1), ocarina, kalimba, xaphoon (2), siren whistle, guitars, jaw harp (3), field recordings (4), wind (7), bathroom noises, toy bear (8)

1. My first composition for string quartet, commissioned by the Koehne Quartet and premiered at Porgy & Bess in Vienna on
April 4, 1998
2. I had the pleasure of collaborating with the filmmaker Peter Kubelka on a dance performance based on Kubelka´s metric film Adebar and choreographed by Christine Gaigg in 2003. The composition is based on the „script“ of the film, which I set to music. The original piece, written for bass clarinet and percussion, was played live for the dance choreography; the version on this recording is obviously for string quartett, with saxophones and ocarinas imitating the musical phrase taken from the film soundtrack.
3. Composed for a concert at the Arena WIen in June 2017, where the Koehne Quartet opened for the band 5/8 in Ehr´n.
4. Written for a concert at MUSA. the City of Vienna´s contemporary art collection, as part of a photography exhibition called „Disturbances“ in 2012.
5. Commissioned for a concert in Woodend, Australia in 2014.
6. Goas = goat
7. This piece incorporates material I was working on in 1999.
8. Schneckenpflaster = snail plaster, based on a poem by a.a.goings.

recorded at 4tune studio, march 23 – 24, 2018
mixed and mastered at Acoustic Art studio by Werner Angerer.
cover art Emily Nagl

c+p Max Nagl rude noises 026/2018

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Exit in Fahrtrichtung (2017)

1. Luster I 2:07
2. Gabardine 4:49
3. Zierfandel 3:01
4. Don Muang 4:11
5. Ausflug 1:13
6. Frack 2:17
7. Lower 3:03
8. Yak Yak 1:34
9. Einzug der Rotgipfler* 3:23
10. Hupe 3:13
11. Praha 4:16
12. NoLat 1:24
13. Marktschreier 1:15
14. Luster II 2.07

Max Nagl: sopran-alto-tenor-bariton saxophone, sampling keyboard, guitar, dulcimer, bass, melodica, harmonium, recorder, car horns, jaw harp, little instruments.
Anne Harvey-Nagl: violin 2, 6

*für Midi

all music composed, produced,
recorded and performed by Max Nagl

recorded August/September 2016 at home
mastered by Werner Angerer
rude noises 25/2017 c+p nagl max
supported by SKE

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Max Nagl Ensemble
Live at Porgy & Bess Vol.2 (2016)

1. Ansage 0:09
2. Parkgarage 4:19
3. Blass 5:28
4. Ropeller 5:36
5. Die gelbe Straße 7:10
6. Chroma 6:06
7. Nasenbluten 2:06
8. barocker Barhocker 4:42
9. 9 in 1 5:45
10. Vanfahre 4:43

Pamelia Stickney: theremin
Joanna Lewis: violin
Anne Harvey-Nagl: violin
Clemens Salesny: alto- tenor saxophones, clarinet
Max Nagl: alto- soprano- bariton saxophones, clarinet
Daniel Riegler: trombone
Clemens Wenger: keyboard
Raphael Preuschl: bass
Herbert Pirker: drums

all compositions by Max Nagl
recorded live at Porgy & Bess, January 31st 2016
recorded, mixed and mastered by Werner Angerer
special thanks to Helmut Peschina, Beatrix Ackers, Harald Krewer,
Alexandra Millner, Julia Reichert, Christoph Huber
and the whole band!
c+p max nagl
rude noises 024/2016
supported by SKE

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Manhattan Love Suicide 1991
(2016)

1. hinkender wal 3:08
2. sinkender strahl 3:20
3. winkender saal 5:08
4. trinkender aal 4:16
5. blinkender pfahl 5:58
6. stinkender schal 3:31
7. zeck attack 1:47

8. drum idiot 2:20
9. UaähUaäh 2.26
10. hoasis 0:47
11. gelor derspen 4:17
12. cornetto 1:41
13. hüah 1:48

Willi Freigner: drums (1-7)
Jonny Griebler: guitar (2-7), voc (2,5,6,7), violin (1)
Max Nagl: alto – baritone saxophones (1-7,11) ,
violin (8,9,10,11,12,13) drums (8,9,11),
guitar/plastic organ (11), voice (9,11)

1 – 7 composed by Willi Freigner, Jonny Griebler, Max Nagl
8 – 13 played and composed by Max Nagl
recorded between ´89 and ´91 at Jonny´s tape-recorder
3 & 7 live at B.A.C.H./Vienna, November 20, 1991
mastered by Werner Angerer
c+p 2016 rude noises 023

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a day in my life
nagl/gradischnig/herbert/vatcher (2014)

1.Traumschlaf 4:18
2. Dragged a comb across My Head 3:03
3. Unterwegs 5:24
4. A Day in the Life 5:36
5. A Second Cup of Ihlamur Tea 4:50
6. Klubkonzert (Blaue Tomate) 8:35
7. After Hours 4:03
8- Bipolare Nachtruhe 4:45

herwig gradischnig: tenor sax, alto sax on track 5
max nagl: alto sax
peter herbert: bass
michael vatcher: drums

Compositions by Peter Herbert (1,2) Max Nagl (3,7) Herwig Gradischnig (5,8) Nagl/Gradischnig/Herbert/Vatcher (6)
Lennon/McCartney (4 arranged by Max Nagl)
recorded on November 9th 2013 at 4tune Studio / Vienna
6 recorded live at Blue Tomato
recorded, mixed and mastered by Reinhard Buchta
produced by Klaus Nüchtern
photos by Klaus Nüchtern
artwork Reini Hackl

c 2014 cracked anegg records
2014 handsemmel records crack0050

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Daumenkino (2013)

1.wrack beat
2. auben ogel
3. feder
4. nasenbluten
5. 77 ghost
6. plovdiv
7. Favor X
8. farrow
9. organ
10. Harmony

all titles composed and played
by Max Nagl
recorded april/may 2013 in vienna/austria
mastered by Werner Angerer
graphics by Emily & nona

rude noises 022
c+p 2013

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Max Nagl Ensemble
Live at Porgy & Bess Vol 1 (2012)

1. rafzn stew 4:21
2. latten pieler 4:21
3. outaien 5:06
4. norden 5:31
5. ippen erger 9:46
6. abgeschobenes Kinderlied 7:43
7. spielplatz 6:19
8. blowing bubbles 3:07
9. schlafende griechin 4:14
10. eine Ansage 0:19
11. i mog my kua ned hiatn 1:16

Pamelia Kurstin: theremin
Joanna Lewis: violin
Anne Harvey-Nagl: violin
Max Nagl: soprano, alto, tenor, baritonesax
Clemens Salesny: clarinet, alto, tenorsax
Phil Yaeger: trombone
Clemens Wenger: keyboards
Raphael Preuschl: bass
Herbert Pirker: drums

all compositions by Max Nagl
C+P rude noises 020 CD/2012
supported by SKE

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Max Nagl feat. Lol Coxhill
(2012)

1. erstes Stockwerk 2:21
2. Charangalila 0:58
3. valdemossa 2:16
4. zweites Stockwerk 4:24
5. erstes Solo am See 4:08
6. Harpsichord interlude 1 0:17
7. Schlauchsax 2:20
8. Messer 1:10
9. in der Lange Gasse 4:21
10. Harpsichord Interlude 2 0:33
11. zweites Solo am See 2:19
12. George on Phillip Island 0:07
13. Charangalila 7:41
14. im Bett 1:18
15. Frog Dance 2:12
16. short piece 0:41

Lol Coxhill: soprano sax, voice(16)
Max Nagl: saxes, different instruments

IN FOND MEMORY OF LOL COXHILL
»I had the great pleasure and honour of working with Lol between 1999 and 2001 on various projects. On this CD are a couple of duos that we performed together. Lol has been a great influence on my musical life since I first heard “Ear Of The Beholder” many years ago.«

2. 13. 15. & 16. by Lol Coxhill
1. & 4. by Lol Coxhill & Max Nagl
all other tunes by Max Nagl
photo by Peter Symes
1. & 4. live Stockwerk Graz
5.11.13.15.16.live at Wellenklänge Lunz am See
9. live at miles smiles Jazz Café/ Vienna

Special thanks to: Ulrike Coxhill Scholz, Maddie Coxhill, Suzie Heger, Otmar Klammer, Christoph Prisching, Paul Skrepek, Vincenz Wizlsperger, Günter Werner, Kapitän Joachim.
c+p rude noises 021/2012

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Irresberg (2011)

1. Liane 2:42
2. Dunois 2:29
3. Irresberg 3:07
4. chinese Gurken 2:49
5. schlafende Griechin 3:47
6. Sprachkurs 2:41
7. kurzer Kaktus 0:37
8. abgeschobenes Kinderlied 2:46
9. in 3 Teilen 4:50
10. Vanfahre 3:07
11. getting late 2:19
12. Freskenbewohner 1:24
13. cactus climber 5:06
14. end of cd 0:10

composed, produced, recorded and performed by Max Nagl
january/february 2011
violin#9 Anne Harvey-Nagl
cover art: Emily Nagl, Susi Kössler
special thanks: Emily, Maxi, Annie, Martina Winkel

c+p rude noises 019/2011
supported by SKE

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Parzival
(2010)

Parzival Track 1 – 32
Max Nagl/alle Instrumente
Steve Bernstein/Trompete
Anne Harvey-Nagl/Violine

Musik für das Hörspiel Parzival
von Katrin Lange, produziert vom Hessischen RF
Regie Götz Fritsch

komponiert und aufgenommen im August/September 2009 von Max Nagl
rude noises 018/2010

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Big4/Sortiléges
Nagl/Bernstein/Akchoté/Jones (2009)

1. Sheriff…….6:16
2. Einzelfahrt…….5:11
3. Durst…….2:54
4. Jalousie…….4:17
5. Fatty…….5:41

Max Nagl: alto saxophone
Steven Bernstein: trumpet
Noël Akchoté: guitar
Bradley Jones: double bass

all compositions by Max Nagl
recorded live at Porgy & Bess 8.11.2007
by Ronny Matky

rude noises 017/CD / c+p 2009

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Sortiléges/Big4
Max Nagl (2009)

6: verzerrte Fliege …….2.23
7: it started with a drip …….5:42
8: magic book …….2:09
9: perce oreilles II …….2:51
10: le klong II ……. 5:41
11: wer klopfet an? …….2:49
12: altes Uhrwerk …….0:46

Max Nagl: soprano – baritonsaxophone, melodica, spielzeug, guitar, sampler, autoharp, percussion, bass, glockenspiel.

composed, played and recorded by Max Nagl
except 11. and 12. traditional
6. – 10. were recorded for „Sortiléges“ and „Rain/Bow“, performed by Compagnie Jérôme Thomas,
Foto by Christophe Raynaud De Lage.
special thanks to: Günther Weiß, Jérôme Thomas, Agnés Célérier, also thanks to Annie, Emily and Maxi
supported by HDI

rude noises 017/cd / c+p 2009

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c.o.d.e.
Vandermark/Nagl/Thomas/Reisinger (2008)

1. Miss Ann 4:05
2. dee dee 7:38
3. free jazz 7:31
4. GW 5:51
5. the madrig speaks, the panther walks 6:52
6. something sweet, something tender / the sphinx 11.46
7. researching has no limits 5:32
8. hat and beard 6:12

Ken Vandermark cl, bcl, ts
Max Nagl as
Clayton Thomas b
Wolfgang Reisinger dr
play the music of ornette coleman and eric dolphy



arrangements by max nagl (1,2) clayton thomas (3,4,8) ken vandermark (5,6) wolfgang reisinger (7)
all compositions by
eric dolphy (1,4,5,6/1,8)
ornette coleman (2,3,6/2,7)

recorded, mixed and mastered by wolfgang reisinger
28.- 30. 2008 in wien – hadersdorf
produced by klaus nüchtern
photos by klaus nüchtern
artwork by reini hackl

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BOULAZAC
Max Nagl/Clemens Wenger/Herbert Pirker (2008)

1. Boongalow 3:38
2. Roller 4:14
3. Filter 1:49
4. Jalousie 4:29
5. Glanda jumper 4:37
6. Magpie 2:58
7. Blues in Erdberg 6:19
8. Bagger 1:21
9. Boulazac 7:49
10. Bräuwiese 3:51
11. Einzelfahrt 4:28
12. Bps 0:50

Max Nagl: alto saxophone, 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

Thanks to: SKE Fonds, Brian Morton, Klaus Nüchtern, Robert Wyatt
and Jérôme Thomas.

Words for Max Nagl

Is the world breaking down, or is the world not yet born? It makes a difference how and where you find the beauty in things, whether you see decay and waste or merely discarded drafts of reality. Max Nagl´s music always suggests
that the world is younger than we think and more replete with possibility. The melodies are not rare or virtuosic, and sometimes they move with an infant totter, but they emerge as if nothing of the like has ever been played before and as if their mere existance is sufficient to the moment. Nothing is fixed and secure, sound itself is fugtive and strange, but not in a way that insists on its own importance. Nagl doesn´t play sententiously and doesn´t tower over his own creation with an auteur´s hauteur. This is a man who finds beauty at street level, in passing things and in what´s left over. This is a man who once found a music to put with Maria T. Maturana´s lonely words:“The edge of midnight came / and the ships go down in the bay / Those quiet guitar eyes keep hanging / round my ears“ and, with an even more resourceful loneliness „The echo screams as others walk by / into their own private audience / echoing their longing“.
The last record was of compositions by Robert Wyatt, who with Soft Machine had once offered music „plus belle qu´un poubelle“. There is no false note of tragedy in this music, nor is it triumphalist. Instead, it explores that region made vivid by Thomas Pynchon, the unfocused realm of the preterite. We tend to assume that creation is divided into the saved and the damned. There is, however, another huge category, an excluded middle or dark matter which comprises the mass of what we are, what we think and dream of, what we make and throw away. The preterite are neither damned nor elect; they are simply overlooked.
It is a powerful metaphor for jazz, this. Too often it is assumed that jazz is a devil´s music that sometimes manages to transcend devilry and address God directly. All through its history – from „Potato Head Blues“ and „Winin´
Boy“ to A Love Supreme – jazz has seemed to operate between those two poles. In reality, much of the music has touched neither of them and shown no ambition to. It is a music that comes out of life as lived, out of an experience
that tries to make a secure connection between a musician´s life and his reasons for living. This is the great challenge and the source of the most quietly satisfying beauty in all or creative endeavours. Bottom-scraping and God-bothering have their interest, but jazz is a branch of ethics. It is about how we live with one another. Though he has written in a wide spectrum of form and for large and small forces, Nagl favours small groups, often trios, where those relationships are mostly acutely represented. A duo can indulge in conversation, a quartet can split into two duos, but a trio asks unique and pertinent questions: If X is talking to Y, what is Z doing, and who is listening to him? Is it possible to get beyond the familiar to-and-fro of dialogic communication and have three voices – more? – speaking meaningfully at the same time? These are challanges that Nagl has quietly taken on down the years. The early solo Ohlsdorf 18, which began to document his saxophone work twenty years ago, was a self-effacing monologue that set out his now familiar accent, inimitable, resistant to the usual talk of „influence“, in anything folkish and collective rather than idiosyncratic and „expressive“ in cast. At the turn of the 90s, with guitarist Burkhard Stangl and synthesizer man Josef Novotny, Nagl was making a unique music that guyed its own resistance to histrionics and exceptionalism with the title Lunatic Fringe.
The moon that overdetermines this music is a more melancholy one, and not given to inciting madness. If these sound like negative virtues, resolutely undramatic and uncomplicated ones, then listen harder to what is within. Nagl´s isn´t a „voice of reason“ any more than it´s given to wild flights. What it does, in these deceptive grooves, is to tell you how things are and even more important, how things might be, and more important still, it tells you that even believing things might be different is the greatest liberation of all.
Brian Morton, July 2008

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WUMM! ZACK! VOL II (2007)

1. Hühnergeschrei 0:16
2. Wumm Zack 2 1:40*
3. Wumm Zack 1 1:47
4. Wumm Zack 16 2:11*
5. Wumm Zack 3 2:21**
6. Wumm Zack 4 3:58**
7. Wumm Zack 8 2:28**
8. Wumm Zack 10 3:03*
9. Wumm Zack 7 2:37*
10. Wumm Zack 9 3:06*
11 Wumm Zack 20 0:55*
12. Lois 3.11**
13. Böller 1:51***
14. Futteral 4:59*
15. Wumm Zack 4 2:21*
16. Wumm Zack 6 1:22*
17. Lois 3.30*
18. Marshmellow 2:54*
19. Wumm Zack 12…1:10*
20. Kombi 2:18*

bonus track Respeckt ***

Komponiert von Max Nagl

*Thomas Gansch: trompete
Max Nagl: sax
Wilfried Brandstötter: tuba
Patrice Heral: percussion, vocal

**/*** Clemens Salesny: sax
Max Nagl: sax
Alex Meissl: e-bass
Herbert Pirker: drums

* Gasthaus Vorstadt/Wien 22.5.2000
** Miles Smiles/Wien 25.1.2006
*** t:mefestival Gent 2005

C+P 2007 rude noises 015CD/2007

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Big Four Live
Nagl/Bernstein/Akchoté/Jones (2007)hatOLOGY 637

1 Radiergummi 6:15
2 Artie Shaw 1:56
3 Monx 5:37
4 New Viper Dance 10:26
5 Teahouse Tango 5:20
6 Big Four 6:44
7 Ring a Ring 6:06
8 Muddy 10:00
9 Muggles 2000 5:14

2,4,8,9 by composed by Steve Bernstein
1,3,6,7 by Max Nagl

Max Nagl: alto saxophone
Steven Bernstein: trumpet
Noël Akchoté: guitar
Bradley Jones: double bass

A production of Schweizer Radio DRS and Hat Hut Records Ttd.; Recorded at Jazzfestival Willisau on September 3rd, 2005; Festival produced by Niklaus Troxler; CD master by Peter Pfister; Cover photo by Luca Buti; Liner Notes by Tom Gsteiger; Graphic concept by fuhrer vienna; Executive production by Werner X. Uehlinger.

Special thanks to Joëlle Léandré for generously allowing Brad Jones to play her double bass in this concert, Ronny Matky for live mixing and to Niklaus Troxler.
2007, 1st edition

In Max Nagl´s varied jumble of creative activities, Big Four comes nearest to what we traditionally perceive as jazz. Formed at the suggestion of producer Werner X. Uehlinger, who introduced him to the recordings of the original Big Four ( Sidney Bechet, Muggsy Spanier, Carmen Mastren, Wellman Braud) from 1940, the band released its first album in 2002 (hatOLOGY 585). „I wanted to work again with trumpet player Steve Bernstein anyway, and this was an opportunity to do so, “ Nagl explains. „I knew that he was at home in many genres of traditional jazz. It was clear to me that he, too, should score pieces for this band. I myself was more interested in the instrumentation than in the music of Bechet, actually“. When the adventurous guitarist Noel Akchote and the agile and equally powerful bassist Bradley Jones teamed up, an exciting mélange of strong, idiosyncratic personalities was born.

Tom Gsteiger

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Rain/Bow arc après la pluie (2006)

Rain: 1. – 9.
1: alarme 6:37
2: boîte en carton 1:26
3: artichaut 3:26
4: la grappe 6:16
5. marteau piqueur 3:09
6: hymne aux escargots 3:37
7: voitures sous la pluie 4:31
8: ring 7:11
9. métro en fa 3:35

1.- 9.
Max Nagl: mélodica, clarinette, sampler, harmonium,
guimbarde
Emily Nagl: violon #1

Bow: 10.- 22.

10. ballroom 2:47
11: les douces massues 1:40
12. buttermilch 1:40
13: poussiére d’étoiles 1:33
14: perce oreilles 3:17
15: la ligne arrière 2:31
16: les ballons blancs 1:15
17: les houla hops 1:37
18: petite musique 0:33
19: burrito 3:32
20: les vives masseus 0:48
21: le klong 2:19
22: gnudu 1:10

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

Toutes les musiques composées par Max Nagl pour le spectacle Rain/Bow dirigé par Jérôme Thomas,
créé à Agora, Boulazac en février 2006.

Rain 1. – 9. jouè et enrigistré à Vienna (Autriche) at à Melbourne (Australie) par max Nagl
Bow: 10. – 22.: enrigistré la 17 janvier 2006 `“Porgy & Bess“ à Vienne /Autriche) par Ronny Matky, mixé le 19 janvier 2006 by Ronny Matky.
CD mastering par Ivan Roussel
Photographies de Christophe Raymond de Lage
Graphisme: Johannes Novohradsky

Produit par Max Nagl & ARMO Compagnie Jérôme Thomas.
c+p 2006 rude noises 014CD/2006

market rasen
Nagl/Wenger/Pirker (2006)

dedicated to the music of Robert Wyatt

1.Fatty 3:19
2. 5 black notes and 1 white note 3:35
3. alliance 4:44
4. jane´s wallet 1:51
5. cp jeebies 7:33
6. louth mouth 4:00
7. born again cretin 4:28
8. box 25/4 lid
9. a saturday in ny 4:04
10. the british road 4:53
11. rebos 3:08
12. gharbzadegi 5:46

Max Nagl: as, cl, samplings
Clemens Wenger: synth
Herbert Pirker: drums
Bradley Jones: bass on 1,6,8

all compositions by Robert Wyatt
except 1,4,6,9,11 by max nagl
8 by hopper/ratledge

recorded on july 3rd & 4th 2006 at wuk, vienna
engineer: werner anger
producer: klaus nüchtern
photo: klaus nüchtern
artwork: reini hackl
p+c 2006, handsemmel records 1107

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Der Siebte Himmel in Vierteln
Max Nagl/Franzobel (2005)

CD1
1. Ouverture 2:08
2. Und er schläft 6:43
3. Tut leid 13:02
4. Gestern erst 4:42
5. Hymne – So blau 5:34
6. Da also 7:23
7. Es schaut so aus 7:37
8. Ein Gefühl 4:46
9. Gibt Gott 3:32
10. Watschentanz 6:05
11. Jetzt ist´s soweit 6:50
12. Wo…wo…wo 8:29

CD2
1. Ich ficke mit dem Feind 4:16
2. So ein Würmchen 4:27
3. Irgendwo 7:16
4. Surmschwein 8:13
5. Sylvester 9:43
6. Gut, sag ich es halt 3:40
7. Im siebten Himmel 7:41
8. Applausmusik 4:06

Musik: Max Nagl
Libretto: Franzobel

Uraufführung: 17.April 2005 Ein Auftragswerk von NetZZeiT

Nancy – PRITI COLES
Jaqulin – BEA ROBEIN
Elmar – MARK HAMMAN
Kalafati – MARTIN BUSEN
Georg – DARIUSZ NIEMIROWICZ
Surm – WALTER RAFFEINER

musikalische Leitung: Alexander Drcar
Ensemble „die reihe“

Regie: Michael Scheidl
Ton: Walter Novacek
Ausstattung: Nora Scheidl
Produktionsleitung: Thomas Epple

Live aufgenommen am 19. April 2005 im Museumsquartier
Aufnahmeleitung: Erich Hofmann
Aufnahme: Andreas Karlsberger
Schnitt: Christian Grosz
CD Mastering: Robert Pavlecka
Fotos: Rainer Rygalyk
Visuelle Gestaltung und Bildbearbeitung: Wolfgang Grossebner
Production Felicitas Sindelar-Thau

eine Kooperation von NetZeiT und den Bregenzer Festspielen

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.

DDD ORF-CD403 c+p 2005 LC 11428 c+p 2005
oe1.orf.at

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Quartier Du Faisan
Max Nagl Ensemble (2005) hatOLOGY 621

1. Beduinenwalzer 3:33
2. Bycykell 7:42
3. Dunkelziffer 5:48
4. Bat Chain 14:00
5 .Patient 8:42
6. Breakstone Variations II 4:22
7. Luis 7:33
8. Bowling 7:44
9. Falarm – Delirium Clemens 6:25

All compositions by Max Nagl, Tutah Publishing Suisa

Max Nagl alto saxophone, melodica (5)
Clemens Salesny alto saxophone, bass clarinet
Franz Hautzinger quarter tone trumpet
Lorenz Raab trumpet
Martin Ptak trombone
Clemens Wenger piano(2,4,9)
Josef Novotny electronics, piano
Achim Tang double bass
Lukas Knöfler drums
Luis Ribeiro percussion

Recorded live at Porgy & Bess by Martin Vetters & Christoph Burgstaller on May 15th and June 27th 2004; Mix and mastering by Peter Pfister; Liner notes by Tilman Urbach; Cover photo by Bob Kessler; Graphic concept by fuhrer vienna; Produced by Werner X. Uehlinger.
Special thanks to Christoph Huber
2005 1st edition
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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Flamingos Nagl/Lechner/Jones(2003) hatOLOGY 609

1 Bowling 5:36
2 Pills 5:04
3 Cigar 4:30
4 Essig 3:57
5 Weird Nightmare 4:13 (Charles Mingus)
6 Bad Hotel 4:27
7 Frolic 3:49
8 Flamingo 4:55
9 Work Song/Haitian Fight Song 5:07 (Charles Mingus)
10 Bat Chain 6:20

Max Nagl – alto, baritone & soprano saxophone
Otto Lechner – accordion, piano & voice
Bradley Jones – double bass

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.
2004, Edition of 3000 CDs

When music is so perfume-soaked, marked with such imagery, haunted by history and pierced through and through with trmbeling and chills, it lays bare its own humility. And in doing so, enchants us. This is none other than a reflection of our own humanity. A reflection that, at the hand of this gifted musicians, becomes a little more desperate and at the same time, a little more beautiful too.
Alex Dutilh, chief editor of „Jazzman“

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I CRASHED MY SNOWPLOUGH (2003)

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 compsed by Avenaim/Nagl

track 1 & 4: drums recorded by Rudi Mille
track 2: recorded at ABC Sudio Melbourne 23.8.2000
by Nick Mierisch, produced by Brent Clough
mastered by Josef Novotny
cover art by Gottfried Ecker (Falle III, Ohne Titel)
cover by Hannes Novohradsky

tracks 1 & 4 composed for the dance performance „sacre material“, first performed at „ImPulsTanz“ dancefestival Vienna, choreographed by Christine Gaigg
track 3 composed for the dance performance „how to be tool“, first perormed at Tanzquartier Wien, choreographed by Christine Gaigg.

mehr socken aufm meer wie roter schnee

c+p 2003 rude noises 013/2003

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Big Four
Nagl/Bernstein/Akchoté/Jones(2002) hatOLOGY 585

1 Big Four 3:24
2 Teahouse Tango 3.51
3 Cats and Dogs 8:38
4 Lazy River 3:18
5 Monx 3:15
6 Dwarf 4:28
7 Reader Advisor 4:06
8 Lullaby 5:04
9 Squeeze Me 4:01
10 Horseradish 3:12
11 Muggles 2000 4:23
12 New Viper Dance 7:53
13 Lullaby Remix 5:07

Max Nagl alto saxophone
Steven Bernstein trumpet
Noël Akchoté guitar
Bradley Jones double bass

2,3,11,12 composed by Steven Bernstein
1,5,6,7,8,10,13 composed by Max Nagl
4 composed by Aredin/Carmichael
9 composed by Williams/Waller
13 remix by Patrick Pulsinger

Recorded on Dezember 3, 2001 at The Studio NYC by Jon Rosenberg;Mix and CD Master by Peter Pfister; liner notes by Bob Blumenthal; Cover photo by Rolf Hans; Graphic concept by fuhrer vienna; produced by Art Lange; Executive production by Werner X. Uehlinger
Special thanks to Benne Vischer & Jane Scarpantoni
2002 Edition of 3000 CDs

This album provides as good an example as any in recent memory of how the best jazz music is a renewable resource, a fount of inspiration that leads attentive and sensitive artiststo new realms of eloquence. It is not a repertory project. in the sense of recreating classic material, yet it draws upon the the manner /and, in two instances, the matter) of a classic body of recordings to fashion something both absolutely contemporary and timeless.
Bob Blumenthal

CHOC Jazzman ocotobre 2002

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Ramasuri (2001)hatOLOGY 575

1 Einleitung 3:06
2 Helikon 6:33
3 Striptease 6:51
4 Hairy Satin 8:09
5 Schwanenei 8:03
6 Schlitz 5:47
7 Flacon 5:01
8 Kanon 8:07
9 Draweg 5:42

All titles composed by Max Nagl, AKM, Tuhtah Publishing/Suisa

Joanna Lewis: violin
Melissa Coleman: cello
Noël Akchoté: guitar
Thomas Gansch: trumpet
Max Nagl: saxophones
Otto Lechner: piano & accordion
Achim Tang: bass
Vincent Wizlsperger: bass & tuba
Paul Skrepek: drums
Patrice Heral: percussion

Recorded live May 20, 2000 at „Porgy & Bess“ Radiokulturhaus, Vienna; Recorded by Ronny Matky; Mix and CD master by Peter Pfister; Cover photo by Elio Ciol; liner notes by Wolfgang Kos,; Graphic concept by by fuhrer vienna; Produced by Max Nagl, Executive production by Werner X. Uehlinger
2001, Edition of 3000 CDs

Max Nagl´s feeling for ambience is undoubtly connected with his long experience as a composer of stage music for dance performances. Here, too, he creates music that does not exist for itself alone but, functioning as a backdrop, has to supply the emotional framework as well. „He produces music as furniture of the psyche“ wrote Christian Scheib about this brlilliant assimilator.
Wolfgang Kos

downbeat magazine Dec. 2001
Max Nagl The Evil Garden
***
Max Nagl Ensemble Ramasuri
****1/2

Austrian saxophonist/composer Max
Nagl has projected a rather distinct
musical persona through a series of relatively unconventional recordings structered upon
either microtonal free-style improv, modern jazz
or while serenading the grand madams of the
silent movie era on his excellent 1999 release,
Cafe Electric. However, the artist frequently
communicatess the visual aspects, as he seem-
ingly beckons the mind´s eye to capture or per-
haps formulate imagery based upon his often
intricately devised works, prominently evi-
denced on The Evil Garden.
In 1999, November Music approached famed
Chicago born illustrator/writer Edward Gorey
to discuss the possibilitis of Nagl recording an
album fabricated upon the artist´s works, and
while Gorey blessed the plan, he passed away
prior to the initiation of the production. Here,
Nagl garners support from the two somewhat legendary British icons-ree/modern jazz saxo-
phonist Lol Coxhill and fabled jazz/rock vocalist
Julie Tippetts. With this release, Nagl parallels
Gorey´s quasi-Gothic, cartoon.like drawings and
associated text with quaintly executed thematic
caricatures atop sequences of subtly complex
motifs, framed around Coxhill´s amiable recita-
tions and Tippetts´ warm, tenderly stated vocals.
more important, the musicians exude an air of
innocence as they integrate simple two-step
waltzes, off-kilter tangos and catchy melodies
into their repertoire, althogh Nagl is prone to
counterbalance the various flows with judicious
injections of multihued aural canvasses and a bit
of mischivous mayhem. On pieces such as
„The Evil Garden“ and „The Iron Tonic“, Coxhill
and Tippetts delicately narrate Gorey´s libretto.
consquently, Nagl´s impressionistic and color-
fully portrayed brainchild serves as a cordial
artisitc testament to the late, great illustrator.
Ramasuri is perhaps more indicative of
Nagl´s extensive musical vernacular. Recorded
live May 20, 2000, in his native Vienna, the saxo-
phonist employs a tentet, featuring guitarist
Noel Akchote and three of his longstanding
musical associates – violinist Joanna Lewis, per-
cussionist Patrice Heral, bassist Achim Tang
and other European-based musicians.
moreover, Nagl perhaps inadvertently delin-
eates the lineage of King Oliver, Duke Ellington
and bop through modern day liberalism, amid
Euro-classical overtones, while the ensemble´s
prudent infusions of tango and walz only
enhance the overall ebb and flow.
The musicians perpetuate a turbo-mode
polka motif on „Helikon“, while „Striptease“ is
depicted via a quietly stated foxtrot, brimming
with contemporary classical undercurrents off-
set by accordionist Otto Lechner´s whispery, flu-
ent lines and Akchote´s electrified, steely edged
chord progressions.
Essentially, Nagl´s chameleon-like composi-
tions transmutations shine forth throughout the
imaginative horn arrangements, regally pro-
nounced opuses, memorable melodies, polyton-
al soundscapes and wistful Mediterranean
themes. Nagl´s thouroughly appealing composi-
tional frameworks instill a sense of time-elapsed
momentum as vividly enacted metaphors
abound throughout this wonderful orchestrat-
et outing. Glenn Astarita, Downbeat Magazin

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The Evil Garden
Max Nagl/Edward Gorey (2001)

1.The Lavender Leotard
2. The Disrespectful Summons 2:51
3. Swinging Herring 5:33
4. The Evil Garden 2:38
5. Hiccup 2:48
6. The Doubtful Guest 5:48
7. D.M.G. 3:43
8. Saragashum 2:42
9. The Iron Tonic 4:29
10. Quoggenzocker 2:16
11. Eplipetic 2:41
12. Oxiborick 1:36

Noël Akchoté guitar
Lol Coxhill soprano saxophone, vocal
Patrice Heral percussion
Max Nagl soprano-alto-baritone saxophones
Josef Novotny piano, synthesizer

Julie Tippetts vocal

All text and drawings by Edward Gorey
All compositions by Max Nagl
except track 9 by Max Nagl and Julie Tippetts,
track 10 by Max Nagl and Noël Akchoté

Recorded at Black Lagoon Studio in Vienna in June 2000
Engineer: Rudi Mille Assistant engineer: Stefan Zlabinger
aditional recordings and mixing, editing and mastering at
Moat studio in London in September 2000
Engineer: Toby Robinson

Design by Cheng-Hung Wang
Produced by Shu-Fang Wang
A November Music Production.

c&p 2001 November Music Ltd. London U.K.

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Wien West
featuring Lol Coxhill & Anne Harvey-Nagl (2001)

hupe 1.
bahnhofswalzer I 2.
vorteilskarte 3.
servas 4.
krug 5.
hund mir streicher 6.
linz train six 7.
euro city 563 ars electronica 8.
wie.westb . 9.
mit dem zucker 10.
signalwirkung 11.
achtl rot mit lol 12.
stay in vienna? 13.
bhüan eisnwuazn 14.
miasegnse 15.
bahnhofswalzer II 16.

composed, played and recorded by Max Nagl
September/October 2000
No 12 composed by Max Nagl & Lol Coxhill

Anne Harvey-Nagl violin – track 2 & 16
Lol Coxhill soprano saxophone – track 12

Robert Matejka concept & editor
mastered by Josef Novotny
design by [U.R.L.]

im Auftrag von Deutschland Radio Berlin
special thanks to Robert Matejka, Lol and Anne

c+p 2001 rude noises 012 CD

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strichcode
Max Nagl Quintett(2001)

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

Joanna Lewis: violin
Max Nagl: sax, melodica, electronic,
harmonium, werk mit lochstreifen
und zange
Josef Novotny: piano, cembalo
Achim Tang: bass
Patrice Heral: percussion

composed by Max Nagl

Recorded 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

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Blattl-Lieder
Max Nagl & Friends mit The Seinehonsingers(2000)

1. Der Wildschütz (Saalfeldener Viergesang)
2:57
2. – 17. Lied des sterbenden Wildschützen Johann Steiner
37:27
18. Das Oberndorfer Weihnachtslied
(Männergesangsverien Sängerrunde St.Johann)
3:25

Max Nagl: Saxophon
Josef Novotny: Klavier
Achim Tang: Bass
Patrice Heral: Percussion, Gesang
The Seinehonsingers, geleitet von Johannes Puchleitner

1 Text und Musik: Christian Blattl
2. – 17. Text: Christian Blattl Musik: Max Nagl
18. Text und Musik: Christian Blattl Arrangement: César Bresgen, dem MGV Sänerrunde St.Johann gewidmet

Aufgenommen live am 14. November 1998 im Festsaal der Hauptschule St. Johann in Tirol vom ORF Tirol
Tontechnik: Hubert Prugger
Aufnahmeleitung: Gunter Schneider
Grafische Gestaltung: Circus, Innsbruck

Im Auftrag von Hans Oberlechner
C+P 2000 idyllic noise

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Hidden Whisper
(2000)

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

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En Passant
Otto Lechner / Max Nagl (1999)

Otto Lechner: piano, akkordeon, stimme, percussion
Max Nagl: sopran-, alt-, tenorsaxophon

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

„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 mir 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

recorded: Alex Rathner Jänner 1996 im Augarten Studio;
mastering: Josef Novotny;
cover art: Na No;
film stills: from movie „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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Falarm
Max Nagl Trio (1999)

1.Kuckuck 6.26
2. Herr von Herzen 2.19
3. MC 80 11.23
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

Max Nagl: saxophone
Vincenz Wizlsperger: bass
Paul Skrepek: drums

1 – 3 composed by Vincenz Wizlsperger
4 – 10 composed by Max Nagl
recorded live in concert at Jazzgalerie Nickelsdorf and
at BlueTomato/Vienna – spring 1999
mastered by Josef Novotny
cover drawings by Vincenz Wizlsperger
lowest-fi production

» 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 daudaces. 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

C + P 1999 rude noises 009 CD

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Rayuela (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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Café Electric
Max Nagl Quintett (1999)

Enticing 6.03
Lost girl 3.12
Die freudlose Gasse 5.03
Café Electric 1.48
Pomme d´Asphalt 1.15
M-abuse 4.09
Greed 5.54
Nosferatu 10.21
Taboo 2.53
Stumm 5.59
s´Vaserl 3.38
Count Ossdorf 2.20
Permanent 3.43

Joanna Lewis: violin
Max Nagl: alto and baritone saxophones, sampler,
melodica, glockenspiel
Josef Novotny: piano, harmonium
Achim Tang: bass
Patrice Heral: drums, percussion, voice, tabla

all compositions by Max Nagl

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. Vor 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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Taboo
Max Nagl Quintet (1999)
(1999)

1 Bon Soir 6.03
2. s`Vaserl 3.58
3. Stumm 2.20
4. Taboo II 2.42
5. Breath 2.45

Joanna Lewis: violin
Max Nagl: alto – baritone saxophones, melodica, 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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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

one plus one
Max Nagl Ensemble (1999)

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

Patrice Heral: percussion
Joanna Lewis: violine
Max Nagl: saxophone, melodica
Martin Siewert: guitar
Achim Tang: bass
Berndt Thurner: vibraphone, marimbaphone

The world premiere of „one plus one“ took place on July 16th, 1999 at the ImPulsTanz-Festival Vienna, Sofiensäle – directed by Christine Gaigg

A dance piece by Christine Gaigg
Created with: Michael Dolan, Milos Galko, Nina Kripas, Mani Obeya, Daphne Strothmann, Julia Todd.
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“ is a Co-production of 2nd Nature dance group, TanztheaterWien and Max Nagl Ensemble.

» 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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Bärenoper (mini CD)
(1998)

1.Intrada – Adagio
2. con fouco
3. Presto – Largo
4.5.6.7. – Rumore di fondo
Musik von und mit Max Nagl

aus der Produktion „embryo/trilogie der sinne“ von Martina Winkel & Airan Berg ThEaTeR OhNe GrEnZeN urafgeführt am 20.Feb 98 im WUK – Theater, Wien
photo: Nick Mangafas
master: Josef Novotny
c+p rude noises 004/1998 Mini CD

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Musik für einen Kirchenraum
Josef Novotny / Lydia Vierlinger / Max Nagl (1998)

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

Josef Novotny: Orgel
Lydia Vierlinger: Alt
Max Nagl: Sax, sampler

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.
3. – 7. Text von Maria T. Maturana.
Aufgenommen am 4. Juli 1998 in der Pfarrkirche Ohlsdorf.
CD mastering: Josef Novotny,
Cover art: Na – No,
Foto (Deckengewölbe aus der Römerkirche Aurachkirchen/O.Ö.): Johannes Novohradsky,
Produziert von Max Nagl
C + P 1998 rude noises 007 CD

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Mélange à trois
Max Nagl Quartett (1997)

1.Lump 4:14
2. Eh owei super 2:53
3. Pot Püree 6:58
4. Tranquillo 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. Sechaneintzka 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

composed by Max Nagl

Joanna Lewis:violin
Max Nagl: saxophone, melodica, sampler
Josef Novotny: piano, cembalo
Patrice Heral: percussion, vocals

Mona & Lorenz: voice on #3
Maria T.Maturana: voice on #5
Otto Lechner: voice on #12
#2 composed for the dance theater „Owei Super“
directed by Christine Gaigg

recorded and mixed by Peter Kaizar 15. – 17. may 1997
at studio Stuhlhof/Schwertfegen, #10 recorded live at Porgy & Bess/Wien by Ronny Matky, mastered by Josef Novotny, cover photo: wfmu calender `93, band photos and design: Hannes Novohradsky, special thanks: Austro Mechana, Peter Kaizar.

die musik für dieses quartett wurde ursprünglich für ein konzert mit projektionen von super 8 filmen, die ich in spanien und in meinem in wien zimmer aufgenommen habe, komponiert. die filme zeigten das mittelmeer-autofahrten-stierkämpfe-ameisen-noten. lose aneinadergereiht dienten sie als visueller hintergrund für unser konzert und gaben uns gleichzeitig die illusion, musik zu einme „film“ zu spielen. der titel des konzertes war „valorca rhapsody, benannt nach einem wortspiel von Patricia P. Prieto. im laufe der zeit entstanden mehr und mehr stücke, inspiriert von der kammermusikalischen besetzung und der idee von einer melange aus walzer, polkas, tangos und dergleichen. der name der band änderte sich un die filme verschwanden von der leinwand (und wanderten in die köpfe der zuhörer).

The music for this quartet was originally composed for a concert which included the screening of 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 in Vienna. 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 the concert was „valorca rhapsody“, named after a „wortspiel“ by Patricia P. 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 (and wandered into the heads of the audience).
max nagl wien november `97

C+P 1997/ rude noises 003CD

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Daily Bullet (1996)

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

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

Music by Max Nagl Words by Maria T. Maturana,
„Wham! Bam!“ words by Maturana & Nagl

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

Music published in Austria by Austro Mechana / AKM
rest of the world by Alissa Publishing / PRS-MCPS

„…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, France

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„Super 8“ (1997)

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

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, 16,19

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 , Feb. 98

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WUMM! ZACK! VOL1 (1993)

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. Hå – Hi 0.26
15. III 0. 35
16. Kombi 1.53
17. XII 0.40

Wumm! Zack! – Marschgabelvariationen für zwei Bläser, Schlagzeug und Videoprojektion.

Max Nagl: saxes and vocals
Dan Froot: saxes and vocals
Patrice Heral: percussion and vocals

Commissioned by Spot Salzburg for the musicfestival „Heimischquer“ in November 1992 at Szene Salzburg

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

Special thanks to Austro Mechana, Peter Rantasa, Hannes Novohradsky, Maria Maturana, Villa Patricia, Florian Sokol, Max Nagl sen, Dan and Patrice!

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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Lunatic Fringe
Nagl/Novotny/Stangl (1992)

1/Majesteé du Christ demandant sa gloire â son Pére – 5.06
2/duende – 7.33
3/sing while you are blue – 3.26
4/Tagpfauenaugeauge – 6.26
5/fünf brote und zwei fische – 2.25
6/Slokubelka – 4.05
7/soundgarden – 4.09
8/Phantom – 5.20
9/Meditation on suffering – 3.10
10/Lunatic Fringe – 4.55
11/I promise to try- 3.36

composed by Olivier Messiaen(1)
Nagl/Novotny/Stangl(2,7,8,10) Nagl/Stangl(3,5) Nagl/Novotny(6,9) Nagl(4) Madonna/PatrickLeonard(11)
Track 1/first movement from „L´Ascension“ for organ by
Olivier Messiaen.

Recorded on November 1 & 2 1991by Rudi Mille in Vienna
Produced by Nagl/Novotny/Stangl
Digital two track recording
Coverdesign by Kraner & Hofmann

special thanks to Austro Mechana and Alfred Koll, Jörg Kraner, Bert Noglik, Paul Stepanek, Edith Vangehelof.

C+P 1992 EX153CD Die Extraplatte

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Go Fred Go
Go for it (1991)LP

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

Andreas Tieber: 6-String & Fretless Bass
Konrad Schrenk: Guitar & Synth-Guitar
Christian Mühlbacher: Drums
Max Nagl: Alto Sax

Recorded & Mixed August 1990 at “ Olympia“ Tonstudio/Vienna
Engineer: Christian Leitgeb
Cover & Design: Hans Luif & Michael Trimmel
Backcoverphoto: Hannes Novohradsky
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 catalyst. 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)

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 Wrecks 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

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.

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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AMen#
JOSEF NOVOTNY & MAX NAGL (1989)

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

Josef Novotny: Orgel, Synthesizer
Max Nagl: Altsaxophon, Altblockflöte, Mundstücke

Alle Stücke komponiert und arrangiert von Josef Novotny und Max Nagl außer
# 6/8 (trad.) arrangiert von Josef Novotny und Max Nagl

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

C + P 1989 Extraplatte
EX 96 CD (EX 960089CD)

» 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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unerhörth!!!
Manhattan Love Suicide (1989)LP

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. Rülpsilon 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

Willi Freigner: Drums
Jonny Griebler: Voc., Guit.
Max Nagl: saxophones

All titles fully improvised.

recorded live in June 1989 on 4-track at Jonny’s.
remixed and mastered by Rudi Mille.
rover Art by Jonny Griebler.
lyrics by Ed Kittl.
Coverrealisation by Vienna Paint.
C ´89 by Manhattan Love Suicide
P ´89 by Alex Janda
Extraplatte 0089 LP

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Manhattan Love Suicide /
Max Nagl – La Belle Est Black (1988)
split LP

1.Cinemasc/dope 5:15
2.Wolken über Wien 4:45
3.Deutlich spürbare Erleichterung 2:45
4.Dostojewskij loses his last shirt 4:20

Willi Freigner: drums, objects
Jonny Griebler: git., voc.
Max Nagl: altosax, tapes, mouthpieces

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.

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Manhattan Love Suicide /
Max Nagl – La Belle Est Black
(1988)
split LP

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 choreographed by
Sigrid Seberich and Susanne Casten.
CoverDesign by Willi Freigner
MLS RECORDS 01

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Ohlsdorf 18 (1995)

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 breathe enough/3.13
11/Webernian variations/3.50
13/60m Brustkraulen Variation/3.22
14/Uapa/1.41
15/Brooklyn memory/0.54
16/Don’t move/4.17
17/Holitschka/2.08
18/Sepp´s Tagträume/1.49
19/Sam and Dave/3.39
20/ownship/1.51
21/Traditionals/2.20
22/People like us 5.28

Max Nagl: Altosax, Sopranosax, Clarinet, Melodica, Cello, Guitar, Piano, prepared Piano, Jaw Harp, Plastic Organ, Whistling, Kalimba, Watercups, Synthesizer, Mouthpieces, Drum machin, and Voice.

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 GmbH 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, whether 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 the 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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