TONE JANŠA QUARTET - GOA (JUGOTON 1983)
A1 GOA (Tone Janša)
Soloists:
Tone Janša ss
Bernd Dietrich b
A2 TRAININ' (Tone Janša)
Soloists:
Tone Janša ts
Slavko Avsenik jun. p
A3 YATRA (Tone Janša)
Soloists:
Dejan Pečenko p
Tone Janša shinay
B1 STROLL AND FIGHT (Tone Janša)
Soloists:
Slavko Avsenik jun. p
B2 BLACK TIME (Tone Janša)
Soloists:
Tone Janša fl
Andy Lummp p
Adelhard Roidinger b
Tone Janša celebrates the tenth anniversary of the existence of his quartet. On this record he represents the last four versions of his group, which changes its members according to need:
Tone Janša ss, Dejan Pečenko p, Bernd Dietrich b, Gerhard Wennemuth dr on "Goa" A1
Tone Janša ts, Slavko Avsenik jun. p, Karel Novak b, Ratko Divjak dr on "Trainin'" A2 and "Stroll and flight" B2
Tone Janša fl, Andy Lummp p, Adelhard Roidinger b, Ratko Divjak dr on "Black time" B2
Tone Janša shinay, Dejan Pečenko p, Adelhard Roidinger b, Ratko Divjak dr on Yatra A3
After having finished his studies in Classical music and Jazz in Graz and after his Jazz studies at Boston's Berklee College of Music, Tone Janša returned to Yugoslavia, joined the RTV Ljubljana Big Band as saxophonist and devoted more time to his own music and quartet. He recorded in Ljubljana at North German radio station in Hamburg, in Trieste in numerous Yugoslav TV and radio studios. Further he played and recorded on Jazz Festivals at:
1974 the Polish "Jazz nad Odra", in Graz where he played in the international Big Band under the direction of Slide Hampton
1975 in Debrecen and Nagykanisza in Hungary, Ljubljana Jazz Festival, Finland "Pori Jazz Festival"
1976 in Prague with Gustav Brom's Big Band, Ljubljana and Belgrade Jazz Festival
1978 UER/EBU (Europena Big Band) in Perugia - Italy
1979 Yugoslav Jazz Festivals (Maribor, Novi Sad, Belgrade, Zagreb)
1980 Yatra Jazz Festival in Bombay + an extensive tour of India Burghausen Jazz Festival in Germany
1981 Berlin Jazz Festival "Jazz Buhne Berlin 81", Austrian Jazz Days in Linz, Aarhus EBU Jazz Festival in Denmark
1982 Saalfelden in Austria, Ljubljana and Maribor Jazz Festival, Nagykanisza and Sombathely in Hungary and many others
Tone Janša is without doubt one of the most promising jazz musicians in our country. He represents a new trend, which one readily recognizes after having listened to his music. His music is fresh, dynamic, and modally as well as rhythmically very interesting. He composes and plays his own music.
JANEZ GREGORC
Down Beat (USA)
Yugoslavian saxophonist Tone Janša, who has studied at Berklee College owes much to Trane-ish manner of building a solo use of trills, some of his phrasing -yet there often is not- Trane-ish edge to his tone a bite that owes a little to Eastern European folk reed instruments.
Mid-Day (Bombay-India)
Tone Janša a big name in Yugoslavian jazz made his mark on Yatra by his well knit coordination with his quartet and his original compositions. This was a group that didn't belive doing their own thing at the expense of the audience but concentrated instead on murmuring into a pleasant whole.
Neue Zaitschrift fur musick (BRD)
Den zweiten Abend (Beim Burghausener jazz Festival) eroffnete internationale Gruppe um den jugoslawischen Saxophonisten Tone Janša. Die Stucke des Quartetts sind durchwegs Eigenkompositionen von Tone Janša, die stilistisch im modalen Bereich angesiedelt sind, durch die Einbeziehung von der Musik vieler jungerer Gruppen unterscheiden. Unuberhorbar der Einfluss der jugoslawischen Folklore die der Music von Tone Janša einen eigenwilligen Charakter verleit.
Neue Zeit (Austria)
Perfektion un Lockerheit. Es ist relativ selten dass vier Musiker dermassen aufeinander eintugehen verstehen eine Ausgewogenhiet war die Folge, die als Basis fur Janšas weitlaufige Improvisationen diente. Das vielzitierte Zusammentreffen bzw. Spielfreude wurde von dem Quartet uberzeugend zum Leben erweckt. Janšas eruptive Klangkaskaden wirbelten um die Holzkonstruktion des Raumes. Soli und kompaktes Zusammenspiel erganzten sich ungezwungen in logischer Folge.
Jazz B. Berlin
Ein 50 minutiges "Hormusik" Solo
An sudslawischer Folklore orientierte Quartett des jugoslawischen Saxophonisten Tone Janša verband in seinem Spiel Virtuositat und kreative improvisationen aufs das glucklichste.
Jazzpodium (BRD)
In seiner Stilistik und Spielauffasung sowohl auf dem Sopranals auf dem Tenorsaxophon, das in seiner auselrichen Abgenutzheit von einer bewegten instrumenten vergangenheit zeugt, verdankt Tone, gegen wartig mit zahlreichen Rundfuk-und Festivalengegements sicherlich einer der richtungsweisenden Jazzmusiker seines Landes, viel John Coltrane, mit dem er sich durch technische Perfektion, souverane Pharsierung, figural arabeske Solodurchfuhrung und fast hymnisch anmutende Expressivitat verbunde wiess.
A1 GOA (Tone Janša)
Soloists:
Tone Janša ss
Bernd Dietrich b
A2 TRAININ' (Tone Janša)
Soloists:
Tone Janša ts
Slavko Avsenik jun. p
A3 YATRA (Tone Janša)
Soloists:
Dejan Pečenko p
Tone Janša shinay
B1 STROLL AND FIGHT (Tone Janša)
Soloists:
Slavko Avsenik jun. p
B2 BLACK TIME (Tone Janša)
Soloists:
Tone Janša fl
Andy Lummp p
Adelhard Roidinger b
Tone Janša celebrates the tenth anniversary of the existence of his quartet. On this record he represents the last four versions of his group, which changes its members according to need:
Tone Janša ss, Dejan Pečenko p, Bernd Dietrich b, Gerhard Wennemuth dr on "Goa" A1
Tone Janša ts, Slavko Avsenik jun. p, Karel Novak b, Ratko Divjak dr on "Trainin'" A2 and "Stroll and flight" B2
Tone Janša fl, Andy Lummp p, Adelhard Roidinger b, Ratko Divjak dr on "Black time" B2
Tone Janša shinay, Dejan Pečenko p, Adelhard Roidinger b, Ratko Divjak dr on Yatra A3
After having finished his studies in Classical music and Jazz in Graz and after his Jazz studies at Boston's Berklee College of Music, Tone Janša returned to Yugoslavia, joined the RTV Ljubljana Big Band as saxophonist and devoted more time to his own music and quartet. He recorded in Ljubljana at North German radio station in Hamburg, in Trieste in numerous Yugoslav TV and radio studios. Further he played and recorded on Jazz Festivals at:
1974 the Polish "Jazz nad Odra", in Graz where he played in the international Big Band under the direction of Slide Hampton
1975 in Debrecen and Nagykanisza in Hungary, Ljubljana Jazz Festival, Finland "Pori Jazz Festival"
1976 in Prague with Gustav Brom's Big Band, Ljubljana and Belgrade Jazz Festival
1978 UER/EBU (Europena Big Band) in Perugia - Italy
1979 Yugoslav Jazz Festivals (Maribor, Novi Sad, Belgrade, Zagreb)
1980 Yatra Jazz Festival in Bombay + an extensive tour of India Burghausen Jazz Festival in Germany
1981 Berlin Jazz Festival "Jazz Buhne Berlin 81", Austrian Jazz Days in Linz, Aarhus EBU Jazz Festival in Denmark
1982 Saalfelden in Austria, Ljubljana and Maribor Jazz Festival, Nagykanisza and Sombathely in Hungary and many others
Tone Janša is without doubt one of the most promising jazz musicians in our country. He represents a new trend, which one readily recognizes after having listened to his music. His music is fresh, dynamic, and modally as well as rhythmically very interesting. He composes and plays his own music.
JANEZ GREGORC
Down Beat (USA)
Yugoslavian saxophonist Tone Janša, who has studied at Berklee College owes much to Trane-ish manner of building a solo use of trills, some of his phrasing -yet there often is not- Trane-ish edge to his tone a bite that owes a little to Eastern European folk reed instruments.
Mid-Day (Bombay-India)
Tone Janša a big name in Yugoslavian jazz made his mark on Yatra by his well knit coordination with his quartet and his original compositions. This was a group that didn't belive doing their own thing at the expense of the audience but concentrated instead on murmuring into a pleasant whole.
Neue Zaitschrift fur musick (BRD)
Den zweiten Abend (Beim Burghausener jazz Festival) eroffnete internationale Gruppe um den jugoslawischen Saxophonisten Tone Janša. Die Stucke des Quartetts sind durchwegs Eigenkompositionen von Tone Janša, die stilistisch im modalen Bereich angesiedelt sind, durch die Einbeziehung von der Musik vieler jungerer Gruppen unterscheiden. Unuberhorbar der Einfluss der jugoslawischen Folklore die der Music von Tone Janša einen eigenwilligen Charakter verleit.
Neue Zeit (Austria)
Perfektion un Lockerheit. Es ist relativ selten dass vier Musiker dermassen aufeinander eintugehen verstehen eine Ausgewogenhiet war die Folge, die als Basis fur Janšas weitlaufige Improvisationen diente. Das vielzitierte Zusammentreffen bzw. Spielfreude wurde von dem Quartet uberzeugend zum Leben erweckt. Janšas eruptive Klangkaskaden wirbelten um die Holzkonstruktion des Raumes. Soli und kompaktes Zusammenspiel erganzten sich ungezwungen in logischer Folge.
Jazz B. Berlin
Ein 50 minutiges "Hormusik" Solo
An sudslawischer Folklore orientierte Quartett des jugoslawischen Saxophonisten Tone Janša verband in seinem Spiel Virtuositat und kreative improvisationen aufs das glucklichste.
Jazzpodium (BRD)
In seiner Stilistik und Spielauffasung sowohl auf dem Sopranals auf dem Tenorsaxophon, das in seiner auselrichen Abgenutzheit von einer bewegten instrumenten vergangenheit zeugt, verdankt Tone, gegen wartig mit zahlreichen Rundfuk-und Festivalengegements sicherlich einer der richtungsweisenden Jazzmusiker seines Landes, viel John Coltrane, mit dem er sich durch technische Perfektion, souverane Pharsierung, figural arabeske Solodurchfuhrung und fast hymnisch anmutende Expressivitat verbunde wiess.
Ni komentarjev:
Objavite komentar