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The next step was to rebuild the Engenheiros, with the addition of a guitarist, Ricardo Horn. The sound was heavier, with a regional flavour given to it by the accordion of Casarin. Towards the end of this period, Maltz decided to leave the band, resulting in a new crisis in the band. Later, they produced the album Humberto Gessinger Trio in In reality it is "an album by Engenheiros without the name Engenheiros do Hawaii", in Gessinger's words. They proved themselves the next year when Granja, Adal, and Gessinger re-assumed the name Engenheiros do Hawaii.

For their album Minuano no certain translation; minuano is the name given to the breezes that blow over the pampas , which marked the return of Engenheiros, a new keyboardist, Lucio Dorfman , joined the band. The follow-up, Tchau Radar!

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Bye Bye Radar! Afterwards, they released their third live recording, and the twelfth album of their career: Gessinger took back the lead guitar, after playing bass for fourteen years in the band.

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  6. With this new lineup, they re-recorded various previous tracks by the band and released The sound is cleaner, but also a bit heavier. To commemorate the twentieth anniversary of the band in , Engenheiros do Hawaii released a disc from an MTV Unplugged session. Now, the band is looking back to their glorious time in the lates and earlys, with some old hit songs, barely altered from their original versions, being played in shows. The acoustic phase can be counted as one of the greatest successes of the band in recent years.


    Moving forward from , the band has promised a new album sometime in the first quarter of Instructively von Orelli extends this EuroJazz concept even further. Denn Lillinger entwickelte sein Spiel ziemlich frei. Die thematischen Vorgaben der Eigenkompositionen werden rasch verlassen, um sich in wildem Interplay, dem traumhaften Austausch, zu ergehen. Lillinger steigert sich in einen weiteren Spielrausch, Snare und Becken mit Besen bearbeitend.

    Fizeram pouco mais. Temos de fazer outra vez, e melhor. Net als het bergpad op de hoes zit de muziek van de Zwitserse trompettist vol verraderlijkheden. Steeds zijn er kleine verschuivingen in het tempo, in de melodische lijnen of de harmonie. Hoewel dat soms naar al te nadrukkelijk compliceren neigt, roepen die oneffenheden veelal ook een prettige spanning op.

    Von Orelli heeft bovendien een uitgelezen club musici bijeengebracht die kunnen improviseren met behoud van klankkleur en harmonisch raffinement. Opnieuw heeft Hathut een cd het licht doen zien waarvan alleen al de liner notes de aanschaf rechtvaardigen. Als componist probeert Von Orelli de maximale reikwijdte uit de bezetting te halen. Het is allemaal zo intelligent gedaan dat je als luisteraar soms heimelijk naar wat meer banaliteit en humor verlangt. Er zijn niettemin voldoende momenten waarop Alluring Prospect van leven bruist en de ingenieuze vondsten fonkelen.

    Mercurial but motivated, the three easily dealt with supposedly limited tones by dividing up the program as if they were actors playing multiple roles. Besides keeping up a solid rhythmic thrust, the bassist stepped forward for below-the-bridge swipes and guitar-like snaps, while the drummer animated his processes with clattering cymbals and wood-block smacks. Hat Hut Records Der junge Trompeter und Komponist Marco von Orelli ist uns erstmals aufgefallen.

    Thème et Variations pour Cor et Piano Op.13 (Franz Strauss)

    Nun legt er sein zweites Album als Leader vor. Aus dem Sextett ist ein Quintett geworden. Ausgeschieden ist der Bassklarinettist Lukas Roos. Kompromisse an den Publikumsgeschmack werden keine gemacht. Es geht um Exerzitien, nicht um Kulinarik.

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    Swiss trumpeter Marco von Orelli possesses a manifold musical persona. But as a leader, Alluring Prospects poses deep insight into his enthralling compositional pen, bridging classical, jazz and the improvisational element into multilateral array of largely, energizing frameworks.

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    8. But they seamlessly transform the progressive jazz undercurrent with a spunky rock pulse via a horde of chameleonic changes. At times the band gets a bit rowdy with terse statements and a profusion of contrasting improvisational encounters, synchronized with sinuous explorations.

      Here, the soloists are opposing forces engaging in battle. Yet they temper the pace and embark upon numerous modes of reinvention. Opnieuw een release die in Lissabon maar wel al in werd opgenomen en ver uit de buurt van conventioneel geharrewar blijft. Big Bold Back Bone brengt twee vertegenwoordigers van de Zwitserse scene — trompettist Marco von Orelli en drummer Sheldon Suter — bij twee afgezanten uit Lissabon: Lopes en analoge elektronica-artiest Travassos, die vooral bekend is door zijn artwork voor het Clean Feed-label.

      Deze vier houden zich op in de zone tussen vrije muziek en elektroakoestische improvisatie met een totaalsound die ondanks de redelijk compacte duur van de meeste stukken ook niet voor iedereen weggelegd is. Wide Ear Records is a new Swiss label for contemporary music in all its possible crossovers. A quartet made up of Marco von Orelli trumpet, piccolo trumpet , Louis Lopes electric guitar , Travassos analogue electronics and Sheldon Suter drums. A first one off meeting in turned out to be the starting point for further collaboration. After a short tour through Portugal they decided to make some recordings in a Lisbon studio in December It are these recordings we find on this release.

      Some background. Lopes is often met in the company of musicians like Sei Miguel, Stefan Gonzalez, a. Their — often — noisy sound improvisations sound very together and focused, playing with lots of ideas. Lively and really exciting improvisations it are, not in the least by the subtle electronics of Travassos.

      Tema, Variacoes e Final (Horn Part) - Horn scored for Brass Quintet

      Very worthwhile. Un peu des deux, manifestement. Nuno Catarino nunocatarino gmail. Close Ties on Hidden Lanes, a recording of his sextet for Hat Hut, is a snapshot of a band versatile enough to encompass both ends of the jazz spectrum — as well as a healthy dose of contemporary classical reference points — Messiaen, Ives, Scelsi, etc. Make no mistake however, even when the group is moving towards post-tonal terrain, they seldom lose track of strong sense of pulsation. Wintsch, von Orelli, and Briggen follow suit, each soloing in equally questing fashion. After the inevitable explosive tutti, we are shifted into a more mysterious soundscape, filled with repeated note filigrees, whole tone piano riffs, and low register glissandi.

      Gradually, von Orelli and Roos reassert themselves, and the opening chorale, deconstructed, lined out, and elaborately ornamented, brings us full circle. The interwoven chromatic lines from the piano and brass interjections reintroduce an even more ecstatic version of the opening chorale, which brings the composition to a tense and dissonant conclusion. Close Ties on Hidden Lanes brings together notation and improvisation, freedom and structure, chamber music and jazz in an amalgamation that suggests vibrant ways forward on each of these musical thoroughfares.

      On call for writing jingles, session gigs, and theatrical productions, the conservatory-trained artist may have a bright future ahead of him, based on the qualitative aspects of this sextet date. With a pumping funk-groove and contrasting unison horns, the band summons a cheery vibe. Framed on a simple melody line and an upbeat modality, the sextet swerves into a free-form avant-garde sequence, tinted with bizarre electronics swashes and shift gears, encompassing notions of anguish and uncertainty.

      This pattern continues, as von Orelli injects pathos with his muted wah-wah phrasings and a few slippery detours along the way. But von Orelli tosses another curve into the grand schema by faintly altering the primary melody during the coda. Von Orelli is a perceptive young man, signaling a variegated approach to the progressive jazz idiom. And while citing someone as a star in jazz circles may be hindered by a few boundaries since most notions of convention go by the wayside, von Orelli does project star potential on the basis of this striking debut.

      Stilistisch bewegt er sich zwischen Jazz, Neuer Musik und freier Improvisation. Es ist weit mehr als eine Talentprobe. Die acht Kompositionen faszinieren durch Eigensinn und Ideenreichtum. Sie lebt von der Spannung zwischen so knappen wie komplexen, ausgeschriebenen Themen und freier Improvisation. Um solistisches Schaulaufen geht es nicht, wohl aber um subtile Klangfarben-Kombinationen. NZZ am Sonntag, Wintsch also plays a bit of keyboards, and the set also features Kaspar Von Grunigen on bass and Samuel Duhsler on drums.

      It is a very nice record, indeed! Travassos applied electronic noise in subtle strokes. That album revealed a group that was eager to tap into the raw physicality of the instrumentation they possessed; trumpets, guitars, drums, and analog electronics became alien artifacts that the players seemed to approach with equal parts curiosity and hesitation. One of the biggest changes lies in the presentation itself; instead of releasing one long track, they have split the album into several shorter ones.

      As before, the players often seem to treat their instruments as bodily appendices, to be manipulated, fumbled with, and, at times, forced into odd contortions and tonal shapes. There are some surprises this time around, however. On other pieces, Big Bold Back Bone embrace the throbbing and minimal physicality that they utilized so well on their first release.

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      Lopes takes on a more skeletal and laconic approach, allowing Suter to fill up the empty space with loose clacks and peals that, despite how sparse they are, conjure up a great deal of tension. Von Orelli, meanwhile, offers up lines that are for this recording, anyway uncharacteristically melodious — they bob along in buoyant repose, belying the immense pressures underneath. Big Bold Back Bone i fri utfoldelse. Badische Zeitung, 6. Februar , Reiner Kobe. Bad Alchemy 98 by Rigobert Dittmann, April 6th Basellandschaftliche Zeitung, Juni Jazzpodium — Juni Record Label: Hatology. Mai