Hans Koller – Vision (1966/2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 28:43 minutes | 522 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © MPS
Vision I portrays canonically overlaid sax parts played at breakneck speed before moving into a relaxed bluesy groove, then turns to blistering multi-horn solos. The dirge-like For Dolphy, with the plaintive vocal cries of the altos, was dedicated to the great alto saxophonist Eric Dolphy. The med swing and skewed bluesy feel of For H.G. features the tenor out front. Tryptichon is a challenging angular composition in 3 parts with free improvisation moving from slow to up-tempo and back. With its Dolphyesque melody, Music For Jule is a frenetic excursion with an oblique reference to Monk. For Koller, Ballad For Marlies evokes the essence of a ballad. A Different Theme comprises three phrases played in different times – perfect food for the soloists. Vision II is a free-form ballad with Rittenbacher doubling piano and Koller’s expressive sax solo.
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Hans Koller – Relax With My Horns (1966/2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 29:40 minutes | 534 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © MPS
The re-release of Hans Koller’s 1966 Relax With My Horns (MPS, Germany) shows a master at the top of his game. For the listeners, the disc is composed, arranged and produced with a sense of cheekiness… Trio of jazz musicians, with overdubbing of up to four saxophones on the session. The sum is a tidy little package of swing, blues and multi-tracked sax that echoes the iconic group Supersax.
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Hans Koller – Free Sound & Super Brass (1977/2021)
FLAC (tracks) 24 bit/88,2 kHz | Time – 43:04 minutes | 815 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © MPS
After 20 successful years in Germany, where he rose above all in the 1950s with his “New Jazz Stars” to the scene central figure, the Viennese saxophonist Hans Koller returned to his hometown in 1970 and concentrated here above all on his new, free jazz-oriented “Free Sound”band with young musicians. Every now and then, however, he still had the sense of large-format big band sound, which he had lived out in 1968 in the expansive orchestra suite “New York City” :
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