Alex Machacek-FAT

Over the course of a whole lifetime as a passionate observer and chronicler of the music scene, with a particularly keen interest in guitarists of all stripes, I have been blown away innumerable times by extraordinary players who bring something remarkable and personal to the table. Alex Machacek is one such extraordinary talent. 

Combining jaw-dropping technique with a fertile imagination and a playful sense of humor, the Austrian six-string phenom has concocted an audaciously brilliant manifesto in [sic]. Imagine a composite of Allan Holdsworth’s stunning legato chops and advanced harmonic language with Mike Keneally’s exacting virtuosity and Frank Zappa’s fiercely uncompromising “difficult music” and you’re getting close to where this visionary new talent is currently operating. He is perhaps the only guitarist on the planet who could cut the impossible charts of Zappa’s Jazz From Hell and simultaneously breathe life into them. 

Whether it’s interacting in a live trio setting with his Austrian homeboys Raphael Preuschl on upright bass and Herbert Pirker on drums, or building up intricate polyrhythmic pieces around pre-existing drum solos by former Zappa sideman Terry Bozzio, Machacek brings astounding facility and a wickedly inventive streak to the material on [sic]. As he explains, “Much of the work on this album involved my recomposing or recycling, as I call it; taking existing stuff and doing something with it. 

There are several tracks where I composed to existing, improvised material. For example, the track ‘Djon Don’ is from Terry’s album Solo Drum Music (from 1994). I imported his drum solo and composed an entire piece around it. Similarly, the title track is a piece I composed around a six-minute improvisation that I asked Terry to do a few years ago. Again, I took his solo and worked around it.” 

While this recycling process necessarily involves a deep communion with the computer, Machacek also interacts organically and brilliantly with bassist Preuschl and drummer Pirker on the album’s three live trio recordings, “Yellow Pages,” “Piano” and “Ballad of the Dead Dog.” Says Alex, “I’m really proud of the way my Austrian boys played. They are unknown and they are really young — Herbert was 21 when he recorded this and Raphael was 25. But I think they are really outstanding musicians.” 

The hauntingly beautiful vocal feature “Indian Girl (Meets Austrian Boy)” is a collaboration between Machacek and his wife, singer Sumitra Nanjundan. “The first part is my arrangement of a song of hers that we did together on a record called Indian Girl,” explains Alex. “It’s basically a two-part song and the whole second part is so different than the original that I thought, ‘Let’s give it a different title.’” 

Just as Alex had built up a composition around Bozzio’s pre-existing drum solos on “Djon Don” and the title track, he takes a pre-existing improvisation by bassist Preuschl and through overdubbing cleverly creates a guitar-bass duo piece he calls “Miss Understanding.” 

Throughout [sic], Machacek can be heard playing several other instruments — a piano solo and a bit of marimba on “Djon Don,” some accomplished Percy Jones styled fretless bass on “Out of Pappenheim,” a bit of bass clarinet on “Austin Powers.” But as the maestro admits, “I do it all with the mouse, punching sampled notes into the computer. The only thing I really can play is the guitar.” 

And boy, does he play! Machacek’s daring intervallic leaps, legato flourishes and seamless chordal progressions on “Out of Pappenheim,” performed live with drummer Mario Lackner, will no doubt make Holdsworth fans sit up and take notice. And his dazzling work on the challenging, polyrhythmic workout “Austin Powers,” an exercise in Zappa-influenced writing which he previously recorded on BPM’s Delete and Roll, contains some stunning examples of Holdsworthian, distortion-laced fusillades in the company of bassist Preuschl and drummer Pirker (with some overdubbed samples of Bozzio’s tom toms and bells along with discreet touches of sampled piano and sampled bass clarinet). 

The collection closes on a gentle, darkly beautiful note with the purely improvised invocation “Ballad of the Dead Dog.” As Alex explains, “I just told the guys, ‘OK, we’ve got a little more time in the studio. Now we are going to play a ballad.’ And that’s all I said. I just started, and they basically followed. It just happened, which is the best part. That’s what I like the most, when you just play spontaneously and it happens like that.” 

In all, [sic] represents an auspicious outing for this formidable new presence on the guitar scene. 

Born in 1972, Machacek grew up in Vienna, where he began studying classical guitar at the age of eight and continued for six years. While his early interest in guitar outside the classical field tended toward rock (Queen, Deep Purple, Iron Maiden), he later gravitated toward jazz, with a particular interest in jazz guitar great Joe Pass. “I was pretty much a straight ahead player back then because that was what the people played around me. I learned the Great American songbook and just played as much as I could. When I was 13 or 14, somebody gave me a Joe Pass record and I became the biggest Joe Pass fan in the 14th district of Vienna. I fell in love with this guy’s playing.” 

At age 16, Alex enrolled at the Conservatory of Vienna, where he studied jazz guitar. “Usually you go to school until you’re 18 and then enter the Conservatory,” says Alex. “But I convinced my mother to let me quit school so that I could attend the Conservatory earlier.” During that time, he gained invaluable bandstand experience in a wide variety of groups, from Dixieland to pop cover bands, big band to musical theater, singer-songwriter to contemporary classical as well as sitting in on jam sessions. 

A turning point in Machacek’s development came after he encountered the music of guitar god Allan Holdsworth. “I was so attracted to his playing because I had no clue what was going on. All I knew was it was different, it was great and I wanted to figure out what he was doing. And I have to admit, I definitely became a Holdsworth addict. And while I don’t want to deny my influences, I’m also trying to get something identifiable happening in my playing.” 

Some years after his introduction to Holdsworth’s wholly unique approach to guitar playing, Machacek had a similar encounter with Frank Zappa’s music, which had a significant impact on him. “I always liked Allan’s playing but I was also looking for something else on a compositional level” says Alex. “Then I found Zappa. Other friends were turning me on to his music but I think his album Live in New York was one of the keys for me. I fell in love with that record. And, of course, Terry Bozzio plays on that record, so I also fell in love with Terry’s drumming.” 

Zappa’s Live in New York, originally released in 1978, featured the notorious chops-busting drum feature, “The Black Page,” which has since stood as a kind of proving ground for drummers everywhere. That intricate piece planted the seeds for Bozzio’s uncannily melodic approach to the kit, which he subsequently elevated to high art on 1994′s Solo Drum Music and 2006′s Chamber Works with the 60-piece Metropole Orkest of Holland. “In Vienna, everyone was always talking about this tune,” says Machacek. “The thinking was, if you could play ‘The Black Page,’ then you’ve made it as a musician. So I started transcribing it and learned it and just fell in love with that piece. ‘The Black Page’ is like a milestone. You learn that piece and it’s like earning your Bachelors degree.” 

In 1993, Alex attended a summer course in Perugia, Italy, where he won a scholarship to the Berklee College of Music in Boston. It was during his stay at Berklee that he fortified his own approach to the guitar. At the time, the prevailing attitude among aspiring guitarists was to emulate either Pat Metheny or John Scofield, while the strictly straight ahead contingent identified more with the Pat Martino-Wes Montgomery camp. “But I wasn’t interested in any of that,” recalls Alex. “All of those guitarists are great but I was looking for something else. And what I came away with was the idea: Learn from them but don’t play like them. Instead, I’m trying to push past boundaries and hope that something new will come out in my playing.” 

After completing his two semesters at Berklee, Alex returned to the Conservatory of Vienna to complete his degree in Jazz Education. He was named Guitar Newcomer for 1998 in a European guitar competition and the following year debuted as a leader with Featuring Ourselves. That same year, 1999, he was also introduced to his favorite drummer, Terry Bozzio. “A friend of mine (BPM saxophonist Gerald Preinfalk) had met Terry at a festival and found out he wanted to perform his ’5 movements for woodwinds and strings’. Gerald hooked Terry up with the jazz festival in Vienna and he asked me if I could help him. So I orchestrated all the strings for that project and Gerald took care of all the woodwinds. And that’s how we met. But after that part of the project was completed I thought, ‘Well, I don’t want to just orchestrate, I also want to play.’ So I wrote these trio tunes, and that’s how BPM actually evolved.” 

That hookup led to an ongoing musical relationship which continues to this day. In 2001, they recorded Delete and Roll under the collective name BPM (for Bozzio, Preinfalk, Machacek) in Austin, Texas, where Bozzio moved his family after experiencing an earthquake in Los Angles. In 2002, BPM subsequently did two European tours. In 2003 Machacek and Bozzio performed with the former Zappa bassist Patrick O’Hearn (who had played alongside Bozzio on Zappa in New York). Their remarkable chemistry is documented on the DVD Out Trio. Bozzio and Machacek have recently formed a new trio with bassist Doug Lunn. 

In October of 2004, Machacek and his wife Sumitra moved from their home base of Vienna to Los Angeles, where the guitarist has since created quite a buzz with his local appearances. As guitarist and producer Steve Khan said, “Alex’s creativity and skill levels are overwhelming. With his first full CD project, he takes these talents to new levels. To my ears, he is a talent to be watched for years to come.” 

Amen to that. 

Bill Milkowski is a regular contributor to Jazz Times, Jazziz, Bass Player, Modern Drummer and Absolute Sound magazines. He is also the author of “JACO: The Extraordinary and Tragic Life of Jaco Pastorius” (Backbeat Books). 
released August 15, 2006
all rights reserved
Alex Machacek SIC 2004

David Helbock Trio

David Helbock / piano
Raphael Preuschl / bass ukulele
Reinhold Schmölzer / drums
Recording Information
Music composed by David Helbock, unless otherwise noted
Recorded by Klaus Scheuermann at Hansa Studios Berlin, 
January 11 & 12, 2016. Recording assistant: Nanni Johansson
Mixed and mastered by Klaus Scheuermann, May 2016

Produced by Siggi Loch

Cover art by Gert und Uwe Tobias,
by courtesy of Contemporary Fine Arts, Berlin.

ACT 9833-2
David Helbock Trio Into The Mystic 2015


Flower - Duft 
Freifeld Tonträger 2015

Georg Vogel: Rhodes, Clavinet, Synthesizer
Raphael Preuschl: E-Bass, Kontrabass, Cello
Michael Prowaznik: Schlagzeug

01 Dunst - 11'16"
02 Interlude 3 - 6'37"
03 Zug - 11'16"
04 Lill & Huhuh - 3'54"
05 Soft - 4'59"
06 Duft - 5'11"
07 Komet - 4'25"
Flower Duft 2015
Georg Vogel: Rhodes
Raphael Preuschl: E-Bass & Bass Ukulele, 
Michael Prowaznik: Schlagzeug

01. Intro (Interlude 3) 0:58 (Vogel)
02. Schattellit 4:11 (Vogel)
03. Interlude 1 0:55 (Vogel)
04. DD FuzzExt. 3:15 (Preuschl) 
05. Interlude 3 2:10 (Vogel)
06. 6D 5:55 (Vogel)
07. Interlude 2 0:45 (Vogel)
08. Flower 5.28 (Prowaznik)
09. Oh 4:34 (Vogel)
10. VideoClerks 4:51 (Preu./Pro.)
11. Smoke Stack 3:51 (Hill)
12. Kompakt 2:19 (Vogel)
13. Interlude 4 3:31 (Vogel/Preu./Pro.)
14. Panaroia 4:10 (Preuschl)
15. Outro 4:43 (Vogel/Preu./Pro.)
Flower Flower 2010


JWR 01/10 - CD

digitally available here: kudos | iTunes

1. Raphro (R. Preuschl)
2. Primetime (P. Rom)
3. Next To The Moon (W. Schiftner/P. Rom)
4. Wild Blue Angel (R. Preuschl)
5. Groupthink (P. Rom)
6. Nyx (R. Preuschl/W. Schiftner/P. Rom)
7. Free Lunch (P. Rom)
8. Wolf (W. Schiftner)
9. Flower (M. Prowaznik)
10. Free Fall (P. Rom)

Wolfgang Schiftner – saxophone
Peter Rom – guitar
Raphael Preuschl – bass
Michael Prowaznik – drums

Recorded by Werner Angerer on April 15-17, 2009
Mixed by Christoph Burgstaller
Mastered by Christoph Burgstaller
Cover designed by Pia Steidl
Musical advice by Dr. Frédérique H. Leno
Produced by Fuzz Noir
FuzzNoir FreeLunch 2010
JWR 05/05 - CD

digitally available here: kudos | iTunes 

1. Chat (P. Rom)
2. Panaroia (R. Preuschl)
3. VideoClerks (M. Prowaznik)
4. Samba Ratte (W. Schiftner)
5. Extended Maxi (P. Rom)
6. Tahmine (R. Preuschl)
7. Uarrgh 2 (R. Preuschl)
8. Tell Me The Way To The Next Whiskey Bar (W. Schiftner)
9. If There’s A Doubt, There’s No Doubt (P. Rom)
10. Choral Nr. 1 (W. Schiftner)
11. Interlude (Preuschl/Prowaznik/Rom/Schiftner)

Raphael Preuschl – bass
Michael Prowaznik – drums
Peter Rom – guitar
Wolfgang Schiftner – saxophone

Recorded on April, the 24th and 25th 2005 at the WUK Studios/Vienna except Samba Ratte recorded live on April, the 7th at the JazzWerkstatt Festival 2005 and Chat recorded live on April, the 12th at the JazzWerkstatt Festival 2005
Mix and Mastering: W. Angerer
Artwork and Design: P. Brunsteiner / Beast Communications
FuzzNoir Uarrgh2 2005

Hendrik Feder aka Frédérique H. Leno

JWR 07/08 - CD

digitally available here: kudos

1. Echo
2. You Had It Coming
3. Jalapeno Diplomacy
4. Fugue Noire
5. Kontraquintett
6. At The Barre
7. Blossoming
8. A Smell Of Blood
9. Tribute To The Nameless I
10. Voodooo Kakadooo
11. Huevos
12. Falscher Platz
13. Rue Cases-Negres
14. We Small Islands Behind
15. Scale To Heaven
16. First Steps
17. A Saint-Germain -des Pres

F.H. Leno – piano
Raphael Preuschl – bass
Lukas König – drums
feat. Haja Madagascar – kabosy, guitar, voc, lyrics

Recorded June,
Mixed and Mastered October 2008 by Werner Angerer
Artwork by F.H. and Henri Leno
Graphics by Rudolf Stefanich
Seal by Paris Lainas
HendrikFeder Blossoming 2008


Sketchbook Orchestra 2019


Wolfgang Puschnig-Alto/Flute
Paul Urbanek-Piano/Keyboards
Raphael Preuschl-E-Bass/5-string Bass Ukulele
Lukas König-Drums

Bei diesen Musikern würde es zu lange dauern, auch nur die
allerwichtigsten Stationen ihres Schaffens aufzuzählen, es genügt zu erwähnen, dass
man bei näherer Recherche rasch feststellt, was alle vergangenen
Projekte gemeinsam haben, nämlich künstlerische Konsequenz.
Die Bandmitglieder beschreiben das so:

„Wir spielen einfach die Musik, die wir selbst hören wollen,
unser Leben, unsere Freundschaft, die gemeinsam
geschlagenen Schlachten, haben sie geformt.
Musik als emotionale Notwendigkeit, nicht als Geschäftsmodell.
Wir müssen gar nichts, dürfen alles, nehmen uns die Freiheit, den
Mitmusikern mehr zuzuhören als uns selbst.
Stile und Klangbilder sind nur Dialekte einer gleichen Sprache,
die wir gemeinsam entwickelt haben.“
Homegrown Cultivation 2018
Wolgang Puchnig
Paul Urbanek
Raphael Preuschl
Lukas König

„Individualität“, „Vielseitigkeit“, „Experimentierfreude“, und „Offenheit Neuem gegenüber“sind wohl neben der Selbstverständlichkeit, sein Instrument unfallfrei bedienen zu können,diejenigen Eigenschaften, die man sich idealtypischer Weise von einem Jazzmusiker wünscht.

Selbst bei jemandem wie Wolfgang Puschnig, der stets nach neuen Herausforderungen sucht, scheinbar inkompatible Stile zusammenführt und regelmäßig mit eindrucksvoller Experimentierfreude aufzuzeigen weiß, ist es aber undenkbar, nach derartigen Kriterien eine Qualitäts- oder Wichtigkeits-Hierarchie erstellen zu wollen, ist es am Ende doch immer bloß ein beim Hörer hinterlassenes Gefühl, das die Faszination an der Musik ausmacht. Gerade dieses Gefühl ist es aber, warum Wolfgang Puschnig hier als einer der wohl besten, einflussreichsten und wichtigsten Jazzer – Europas im Allgemeinen und Österreichs im Besonderen – vorgestellt wird.
Homegrown Seeds 2016


JWR 02/17 - CD

digitally available here: kudos | iTunes 

1. Jekyll & Hyde (Salesny)
2. False Alarm (Salesny/Schabata/Preuschl/Joos)
3. Heavy Chicken (Joos)
4. Shuffly (Take 1) (Joos)
5. April (Salesny/Schabata/Preuschl/Joos)
6. Sieben (Preuschl)
7. Spinning Head (Salesny/Schabata/Preuschl/Joos)
8. Love Song (Joos)
9. Trim (dedicated to Walt Dickerson) (Schabata)
10. B.F. (dedicated to Bumi Fian) (Salesny)
11. Seven Months (Salesny/Schabata/Preuschl/Joos)
12. Lazy Kat (Salesny)

Clemens Salesny - alto saxophone, bass clarinet
Woody Schabata - vibes
Raphael Preuschl - electric bass, bass ukulele
Herbert Joos - cornet

Recorded April 5-8, 2017 at Primitive Studios, Vienna by Tom Zalud
Mixed by Tom Zalud
Mastered by Martin Scheer
Cover Art by Herbert Joos
Photos by Eckhart Derschmidt
Graphic Design by Christian Murzek
Produced by Clemens Salesny
Jekyll and Hyde 2017
JWR 06/12 - CD

digitally available here: kudos | iTunes 

1. St. Marx (Woody Schabata)
2. Jeanneret (Hans Koller)
3. Nostalgia In Times Square (Charles Mingus)
4. In Your Quiet Place (Keith Jarrett)
5. Ballad For Monk/Song For Thelonious (Herbert Joos)
6. Stuffed Chicken (Clemens Salesny)
7. Stratusphunk (George Russell)
8. Highlight Blues (Woody Schabata)

Clemens Salesny – alto saxophone, bassclarinet
Woody Schabata – vibes
Raphael Preuschl – bass ukulele, double bass (#3)
Herbert Joos – trumpet, fluegelhorn

#1, 2, 5 recorded June 10th, 2011 at Kulturinitiative Euratsfeld by Roland Baumann
#3 recorded May 25th, 2010 at Rote Bar/Volkstheater, Wien by Peter Tomic
#4, 6, 7, 8 recorded August 20th, 2011 at Jazz im Hof, St. Pölten by Dieter Libuda

Mixed and mastered by Roland Baumann
Paintings by Herbert Joos
Graphicdesign by Wolfgang Grossebner
Produced by Clemens Salesny
Live 2012
JWR 02/07 - CD

1. Sound Stone (C. Salesny)
2. Tahmine (R. Preuschl)
3. Wienerwald Impressions (Salesny/Schabata/Preuschl/Joos)
4. Time Out (W. Schabata)
5. Player (W. Schabata)
6. Strictly Improvised (Schabata/Preuschl/Joos)
7. 100 Years (R. Preuschl)
8. Landscape 2 (Salesny/Schabata/Preuschl/Joos)
9. Stuffed Chicken (C. Salesny)
10. Landscape 1 (Salesny/Schabata/Preuschl/Joos)
11. Circus Tomate (C. Wenger)
12. Epilog (Salesny/Schabata/Preuschl/Joos)

Clemens Salesny – alto-, soprano saxophones, bassclarinet
Woody Schabata – vibraphone
Raphael Preuschl – bass
Herbert Joos – trumpet, fluegelhorn

Recorded on February 24th and 25th, 2007 at 4tune Audio Production, Vienna by Werner Angerer
Mixed and Mastered by Werner Angerer
Photographs and Graphic Design by Helmut K. Lackner
Salesny/Schabata/Preuschl/Joos 2007

Peter Rom Trio

JWR 02/08 - CD

digitally available here: kudos | iTunes 

1. The Last Buzz (P. Rom)
2. No Boogie (P. Rom)
3. Diplomat (P. Rom)
4. Starstruck (P. Rom)
5. Copy (P. Rom)
6. W-Funk (R. Preuschl)
7. About Blank (Rom/Preuschl)
8. Elektro (P. Rom)
9. Pimp My Slide (P. Rom)
10. Vodoo Kakadooo (R. Preuschl)
11. Herb’s Paradise (R. Preuschl)
12. Royal Family (P. Rom)

Peter Rom – guitar
Raphael Preuschl – e-bass
Jörg Mikula – drums

Recorded by Werner Angerer and Robert Grabner
Mixed by Reinhard Buchta
Mastered by Christoph Burgstaller
Cover Art by Michael Franken
Peter Rom Trio – “Starstruck” 2008
JWR 02/05 - CD

digitally available here: kudos | iTunes

1. Kafka’s Humor (P. Rom)
2. Hundred Years (R. Preuschl)
3. It’s A Jungle Out There (P. Rom)
4. Offshore (Rom/Preuschl)
5. Mixed Signals (Rom/Preuschl)
6. Balance (P. Rom)
7. Nebulos (P. Rom)
8. Uarrgh 1 (R. Preuschl)
9. Deadline (P. Rom)
10. Falling Down (P. Rom)
11. Says Who?! (P. Rom)

Peter Rom – guitar
Raphael Preuschl – bass
Jörg Mikula – drums

All Tracks Recorded and Mixed by Werner Angerer
Mastered by Reinhard Buchta at Feedback Studios
Cover Art by Michael Franken
Peter Rom Trio – “Says Who?!” 2005

No Home For Johnny feat. Renée “RAIE” Benson

No Home For Johnny EP 2015

Valerie Sajdik

Valerie Sajdik: Vocals

Clemens Wenger: Piano, Wurli-Piano, Accordeon
Raphael Preuschl: Double Bass, Cello, Ukulele Bass
Samuel Devauchelle: Drums, Percussions, Farfisa Keys
Jean-Charles Gorceix: Sounds on ‘The Captain of Her Heart’
Production: Samuel Devauchelle
Coproduction: Valerie Sajdik, Jean-Charles Gorceix, Clemens Wenger
Recorded by David Rubin at Studio Echopilot, Vienna
Mixed by Jean-Charles Gorceix at Studio Lakanal, Montpellier
Mastered by Pierre Vandewaeter at Studio Lakanal, Montpellier

Special Guests:

Alexis Ipatovtsev-Ipatov (Speech),

Le Choeur de l’armée des Penven de Saint Malo and Lilou Devauchelle (Vocals) on ‘Le Sorbier’;

Sainkho Namtchylak (Vocals) and David Blabensteiner (Guzheng) on ‘Jet Lag Nights’

Les nuits blanches
Title : Les nuits blanches
Release Date : 1 May 2014
Label : Fledermaus
Format : CD
1. Le Sommeil
2. Le Sorbier
3. Metropolis
4. I Spy on You
5. Comme Ça
6. Ce Petit Jeu
7. Spakoini Nochi
8. The Capitain of Her Heart
9. Les Nuits Blanches
10. Bonustrack – Jet Lag Nights
Valerie Sajdik Les Nuits Blanches 2014

JazzWerkstatt Wien Festival

JWR 01/06 - CD & DVD

digitally available here: kudos


1. Rudolfsheimfünfhauserharry (W. Schiftner) – Kelomat
2. Elektro (P. Rom) – Peter Rom Trio
3. (D. Riegler) – Piktogramm II
4. Linie 100 (V. Falb) – Falb Fiction
5. SpielChen 1 (Salesny/Wenger) – Duo Salesny/Wenger
6. Arabolika (P. Lerchmüller) – Massage Sauvage
7. Formula (Balkon/Osojnik) – Balkon
8. A & F (C. Salesny) – In Memoriam Bumi Fian
9. Der Schulterklopfer (B. Satzinger) – Bernd Satzinger’s Wurschtsemmerl
10. From A To Z In A Lifetime (Wolfsberger/Chowaniec/Riegler/Salesny/Wenger/Froschauer) – Cafe Mut
11. Choral Nr. 1 (W. Schiftner) – Fuzz Noir


1. Hundred Years (R. Preuschl) – Peter Rom Trio
2. Stuffed Chicken (C. Salesny) – Salesny/Schabata/Preuschl
3. Im Zwergenland (D. Riegler) – Studio Dan
4. Hr. Rossi Destroys The World – Part III (D. Riegler) – Studio Dan
5. Trauriger Bua (Trad.) – Duo Falb/Satzinger
6. Pimp My Slide II (P. Rom) – Peter Rom Trio
7. Killers (Wired Distortion) – Wired Distortion
8. Jössas urschnö (A. Zamarin) – Phoen
9. Der Keuschheitsgürtel (R. Preuschl) – Salesny/Schabata/Preuschl
10. Kontra5tet (R. Preuschl) – Kontraquintet

Recorded live at the JazzWerkstatt Wien 2006, WUK, Vienna on March 16 – April 8 by Werner Angerer
Mixed by Clemens Wenger and Werner Angerer
Mastered by Werner Angerer
Photographs and artwork by Helmut K. Lackner
Var. Art. – “JazzWerkstatt Wien 2006”
JWR 01/05 - 2 CDs

digitally available here: iTunes | 


1. Koller-Riff (H. Koller) – Salesny’s Hans Koller Tribute
2. Panaroia (R. Preuschl) – Fuzz Noir
3. Dancing With M. Chansen (B. Satzinger) – Bernd Satzinger Trio
4. Käfig (D. Riegler) – Studio Dan
5. Trauermarsch Nr. 1 (W. Schiftner) – Phoen
6. Kleid der Stille (Wenger/Reisinger) – Die Jazzlegenden
7. Da rumpelt die Kartoffel (W. Schiftner) – Kelomat feat. Daniel Riegler
8. Headbanging (R. Preuschl) – Kontra5ntett
9. Bumpfi’s Lieblingsmelodie (C. Wenger) – Die Jazzlegenden
10. Ich bin der Haselnuss (D. Riegler) – Piktogramm
11. Extended Maxi (P. Rom) – Fuzz Noir


1. Kampf der Häuptlinge (T. Kövesdi) – Studio Dan
2. Tahmine (R. Preuschl) – Salesny/Schabata/Preuschl
3. Kafka’s Humor (P. Rom) – Peter Rom Trio*
4. Seltsamer Abend (B. Satzinger) – Bernd Satzinger Trio feat. Daniel Riegler
5. Im Zwergenland (D. Riegler) – Studio Dan
6. Sauwald Experience (C. Salesny) – Salesny/Schiftner/Prowaznik
7. Crystal Tears (L. Thöni) – Crystal Tears
8. The Philadelphia Experiment (P. Rom) – Rom/Wenger
9. Wumm-Zack V (M. Nagl) – Wumm Zack
10. The Lions Don’t Sleep At Night – They Swing (C. Wenger) – Clemens Salesny Quintett/Kelomat Doubleband
11. Fiakerlied (G. Pick) – Die Jazzlegenden

Recorded live March 21 – April 17, 2005 at WUK, Vienna by Werner Angerer
Mixed and Mastered by Werner Angerer and Paul Urbanek
Var. Art. – “JazzWerkstatt Wien 2005”


JWR 04/08 - CD

digitally available here: kudos | iTunes | Spotify

1. Princess
2. Home Again
3. Green
4. I Didn’t Order This One
5. Little Boat
6. Speed Queen
7. A Way
8. 1–2-3 Don’t Count On Me
9. Too Late
10. Let Go
11. Silent Panic
12. Travelling Light

All songs written by Nika Zach

Nika Zach – voc, kazoo, kalimba, toys
Raphael Preuschl – e-bass
Herbert Pirker – drums

Recorded and Mixed by Werner Angerer at 4tune Studios and WUK Studio 2007/2008 in Vienna except Track Nr. 8 and 9 Recorded Live at JazzWerkstatt in March 2007
Mastered by Christoph Burgstaller
Photography: Irene Schaur
Graphics: Rob Drapela
Nikasteam – “Little Boat” 2008

Flip Philipp – Ed Partyka Dectet

Put Me On The F***ing Radio *
Never Go To Bed On An Empty Stomach
Bad Follows Good #
Waiting For Nellie *
Women & Work #
Honolulu Lilly *
Singin’ In The Bathtub
Commercial (Intro)
Strictly Commercial *
All compositions and arrangements by Flip Philipp
except: # arranged by Klaus Gesing * arranged by Ed Partyka

Flip Philipp – vibraphone
Ed Partyka – bass-trombone, tuba
Robert Bachner – trombone
Lorenz Raab, Daniel Nösig – trumpet
Clemens Salesny, Gerald Preinfalk – alto saxophone, bassclarinet
Klaus Gesing – soprano saxophone, bassclarinet
Raphael Preuschl – bass
Christian Salfellner – drums

Recorded at Bahnhof Records by Ed T. on June 9th/10th, 2005
Mastered by Patrick Pulsinger at Feedback Studio One, Vienna
Cover Art by Fanny Arnold in coop. with Andreas Pawlik at D+, Vienna.
Produced by Flip Philipp
Bad Follows Good
Soft Arm Chair
Women and Work (is what it’s all about)
Easier to Sell (harder to achieve) #
Honolulu Lilly #
Put me on the (f…n) Radio
Strictly Commercial
Policeman in Heaven
Waiting for Nellie
All Compositions by Flip Philipp

Flip Philipp – vibraphone
Raphael Preuschl – bass
Christian Salfellner – drums
Herb Pirker – drums on #
Clemens Salesny – reeds
Lorenz Raab – trumpet

Recorded 6, 7 October 2003 by Rens Newland at Bizzy Man Studio
Produced by Flip Philipp
Mastered by Kurt Richter, Homebase Recording Studio, Vienna
Coverphoto by Philipp Horak
Design by Christian Manser and Johanna Schoenberger at d+, Vienna

Porgy&Bess Jazz&Music Club


The Stoner’s Philosophy
After 6
You And The Night And The Music
Old Man River


Zwischen Blättern
Ei Mikään Ole Pysyvää
The Great Gates Of Jerusalem 
Let’s Have A Talk
Oh Superman
Sag 9
One Note Samba
Theme From “Casino Royale” (Burt Bacharach)
Hurry To Me (Roy Budd)
Theme From “Taxi Driver” (Bernard Herrmann)


Zaunkönig (Vincent Pongrácz)
Luftschutz (Vincent Pongrácz)
Femton (Vincent Pongrácz)
Go East
Travelling Light
A Blast From The Past (Wolfgang Puschnig)
Streamline (Paul Urbanek)
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CD II, Tracks 9-11:
Martin Ptak & Heinz Fallmann “Velvet Elevator”:
Boris Lipov – flute
Cornelia Pesendorfer – oboe
Clemens Salesny – alto saxophone
Ray Aichinger – tenor saxophone
Tobias Reisacher – trumpet
Martin Eberle – trumpet
Martin Ptak – trombone
Erik Hainzl – bass trombone
Joanna Lewis – violin
Diane Pascal – violin
Lena Fankhauser-Campregher – viola
Margarethe Deppe – cello
Martin Wöss – keyboards
Heinz Fallmann – guitar
Josef Wagner – bass
Michael Leibetseder – drums
Caroline De Rooij – vocals
Philipp Kerber – video montage

CD III, Tracks 1-3:
Vincent Pongrácz Synesthetic Octet:
Vincent Pongrácz – clarinet
Doris Nicoletti – flute, piccolo flute
Clemens Salesny – reeds
Richard Köster – trumpet
Alois Eberl – trombone
Peter Rom – guitar
Manuel Mayr – bass
Lukas König – drums
Renée Benson – vocals

CD III, Tracks 8, 9:
Wolfgang Puschnig/Roman Schwaller/Clemens Salesny “Saxophone Summit”:
Wolfgang Puschnig, Roman Schwaller, Clemens Salesny – reeds
Paul Urbanek – piano
Raphael Preuschl – bass
Lukas König – drums

13.09. – 15.09.2013
Recorded & mastered by Martin Vetters & Jakub Velikovsky
Produced by Porgy & Bess
Photos by Eckhart Derschmidt
Artwork by Andy at O/R/E/L

Thomas Gansch/ Markus Geiselhart Don Ellis Tribute Orchestra

Theme From “The French Connection” (Comp. Don Ellis/Arr. Markus Geiselhart)
Bulgarian Bulge (Comp. & Arr. Don Ellis)
Indian Lady (Comp. & Arr. Don Ellis)
5er To Don Ellis (Comp. Thomas Gansch/Arr. Markus Geiselhart)
In A Turkish Bath (Comp. & Arr. Ron Myers)
Open Wide (Comp. Don Ellis/Arr. Nick Di Scala/Rearr. Markus Geiselhart)
The Great Divide (Comp. & Arr. Don Ellis)
Aneel Soomary, Adam Rapa, Bernhard Nolf, Tobias Reisacher – trumpets
Dominik Stöger, Robert Bachner, Martin Grünzweig, Erik Hainzl – trombones
Florian Trübsbach, Clemens Salesny, Thomas Kugi, Christian Maurer, Herwig Gradischnig – reeds
Martin Koller – guitar
Raphael Preuschl – bass
Herbert Pirker, Lukas König – drums
Markus Geiselhart – conductor
Thomas Gansch – solo trumpet

Recorded live at Stadthalle Ellwangen, April 4th 2013 & Freiheizhalle Munich, April 6th 2013 by Matthias Huppmann
Mixed by Matthias Huppmann and Markus Geiselhart in October 2013
Mastered by Matthias Huppmann & Markus Wallner
Produced by Schagerl Records and Jazz Orchestra Productions Vienna
Bulge 2013

Dorretta Carter and Her Funkmonsters

Dorretta Carter ‎– Look At The Light
Tough Time Records ‎– TT99 dc002
Veröffentlicht: 1999
Stil: Acid Jazz

1	Look To The Light	4:52
2	Scorpion Whistles	4:27
3	I Need The Thing	4:32
4	Close My Eyes	5:31
5	On The Road	4:13
6	I Can't Stand The Rain
Written-By – Peebles*, Miller*, Bryant*
7	Common Land	4:21
8	It's You	4:58
9	Gotta Get It	4:43
10	Glory Of Love
Written-By – William Hill*
11	Moanin'
Written-By – Jon Hendriks, Robert Timmons
Backing Vocals – Eddir Cole (tracks: 1, 3 to 7, 9, 10), Laqueline Paricio (tracks: 1, 3 to 7, 9, 10)
Baritone Saxophone – Thomas Kugi (tracks: 3 to 7, 9, 10)
Bass – Raphael Preuschl (tracks: 2, 3, 5), Robert Riegler (tracks: 1, 4, 6, 7, 9, 10)
Composed By, Arranged By, Keyboards, Programmed By – Paul Urbanek
Drum Programming – Marnix Veenenbos (tracks: 8)
Drums – Oliver Gattringer (tracks: 1, 3 to 7, 9, 10)
Guitar – Alegre Correa* (tracks: 1, 2, 7, 8), Alexander Machacek (tracks: 3, 4, 9, 11), Peter Haberfellner (tracks: 6, 10)
Lead Vocals, Backing Vocals – Dorretta Carter
Percussion – Laurinho Bandeira (tracks: 1, 3 to 7)
Rap – Georg Farmer (tracks: 5)
Tenor Saxophone – Herwig Gradischnig (tracks: 3 to 7, 9, 10)
Trombone – Robert Bacher (tracks: 3 to 7, 9, 10)
Trumpet – Bumi Fian* (tracks: 3 to 7, 9, 10)
Look To The Light 1999

Paul Urbaneks The Next Generation Of Sound

Now comes a band proclaiming themselves as "The Next Generation of Sound," superheroes of creative musicality and musicianship. I mean, how dare they ! We're all out here pummeling search engines, reading jazz reviews, sharing sound files and hitting the clubs trying to figure out where it's really going to come from. Guess what? The next generation of sound, at least in part, is comin' 'atcha from some borough of Austria, precisely the neighborhood in which Paul Urbanek (keyboards) and Alexander MacHacek (guitars) make their humble little homes.
There's a music aficionado from Graz who has been overstating (or so I thought) about these guys on a couple of internet based forums for about a year now. Every post is over the top, you know? Man, one listen to an mp3 somewhere could certainly have saved this project some time! This is hands down the best record (hey I still call 'em records) I've heard this year and it was released in 2000!

Still on the downside of 30, MacHacek is fresh on the scene, one of the very few names that deserves mention in the same rarefied air as Holdsworth and Henderson. These names are invoked way too often, but one listen to last year's astonishing debut, Featuring Ourselves, which was released during the same year as this gem, will prove it. MacHacek is evidently a connoisseur of contemporary classical music and composes on computer in much the same way as Frank Zappa did on synclavier. He's also written orchestral scores for an ensemble treatment of Terry Bozzio's solo percussion music which debuted in 1999 Vienna. Bully for him, because his role here is solely as first mate Riker to Urbanek's Captain Picard-"Make it so!" indeed. Urbanek, another new face on the international scene, did all of the brilliant composing and arranging on this one and apparently has appeared on more than 35 dates already. My only other familiarity with him is his involvement on a recording of telepathic compositions/improvisations with saxophonists Hans Koller and Wolfgang Puschnig entitled the The Hans Koller Concept. The "concept" must involve mind reading, to some extent, and that recording is much more of a serious chamber-like thing, a solar system removed from the subject matter here.

In fact, I think that's the draw of this record. While its participants make heavily virtuosic, weighty music in other projects, this one oozes with fun, hooks, and fiery, yet not haughty playing. Listeners won't need a jazz resume to dig it. Take the first cut- "Departure"- it's about taking off for sure. The first twenty times I listened to this I thought it had a catchy head, a solo section and a fade. The B3 sections in particular, are such killing distillations of the Bluenote history that you can't help but scream, "I love this!" out your car window as you violate the posted speed limit. I was aghast when I actually realized that I had listened to the tune closely enough to recognize that it had no discernible theme, head or melody, apart from that provided by soloists, not a lick from which is repeated at any time in the tune. In fact I was so intrigued I've listened to this cut about a hundred times since and am still absolutely knocked out by the freshness and newness of it. The tune consists merely of a programmed drum track with a simple bass line, followed in succession by alternating organ and bop-toned guitar solos, which get progressively shorter until that tune ends at 2:26. That's it! Somehow we fall for this hook line and sinker. Why? You're paying attention aren't you? The soloists are so goddamned incredibly soulfully melodic, that's why. If you want to be part of the NGOS after all, that's how you have to play!

The next tune, "Gravity" is intended to pull you back into orbit with an LA Express-era slap-bass fusion shuffle, but there's something going on in the rhythm. You notice the device, which pops up repeatedly, of little motific moog-metallic rhythm enhancements that set up oh-so-nicely against the drumbeats, that drive the rhythm tracks of the tunes and make them unique. MacHacek plays a concise/precise (another defining element of this one) legato solo preceding Urbanek's ultrahip Herbie "dirty rhodes" before the tune fades into a famous Jaco segue -the only obvious rip on the disc. This leads into "The Quiet"'s double-diad bass line over which unfolds what feels undeniably like a Weather Update of a Zawinul tune. MacHacek goes off on this one, beginning in very controlled fashion before taking off into the corona.

"Am/Bbm-Complex" added to your cornflakes'll boost your energy level while slamming jazz mastery up against disco cheese with incredible results, distilling entire catalogues of late 70's early 80's R'n'B- inflected fusion to its essence, simultaneously rendering tons of vinyl recyclable. Urbanek's classically influenced, technically articulated improvisation reaches out and grabs everything Ramsey Lewis and Bob James could ever have hoped to go for during fuzak's Columbia heyday but makes it all happen in about a minute. Meanwhile MacHacek goes off the hook into hollow body- burning-Benson territory, throwing off lightning arpeggios in what seems like individual pick strokes. Bassist Raphael Preuschl takes the opportunity to get off his sole feature on the disc, a nice little octave divider-enhanced solo. If you're like me and listened to some of the above names at the height of their popularity you're grinning from ear to ear after this one, both amazed at the unmistakable effortlessness of what just flitted by, combined with a droll sense of self-deprecation for ever having wasted a hard earned buck on that older stuff. Notice that three tunes into the record, Urbanek has proven he is a bonafide triple threat stylist on piano, Rhodes and organ (not to mention his adeptness with synths) who has absorbed and refined, it seems, every major influence on each.

If you want to hear these guys blow changes listen to "Fools (The Church of Jazz)." In the mood for a quickie piano rhapsody? Try "Entry To Heaven." Want your synth cheese cut with a virtuoso Rhodes? Dig "Planet Pifgonia." If you suddenly want MacHacek to pick every note like Jimmy Herring or Steve Morse you can try this cut too. Tabla beat science? Cue up "In Heaven," where you'll get it under a moog bass line with a real flute solo and the backwards looped legatoisms of MacHacek. "Timewarp" is the most pleasant little modulating piano riff you're going to hear any time soon, sporting a real clean strat-type tone and more killer B3 riffs. You can feel the wind passing through the valves, the drawbars and the Leslie on this one. Man, I'd love to hear these guys do a set of straight up organ trio grooves.

On the last cut, "Stardate", you get a keyboard journey, starting with a piano tour-de- force peppered with Spock samples, combined with Urbanek transported into the deep space coordinates where Mr. Z goes when he gets emotive and downright sad. But just when it's getting a little gloomy, MacHacek's (Han)solo rips her into light speed and takes us back to our enterprise!

"Jim, I am not a writer I'm a doctor!," and my diagnosing scanner indicates that if you were ever interested in any kind of music classified as fusion you need one of these discs at once! See for more information and get it directly from the Austrian label at Trust me, it's worth the small differential in the freight and the wait plus it beams more currency into the artists' pockets, where it belongs!

Track Listing

1. Departure 2:48 , 2.Gravity 4:20, 3. The Quiet 6:23,4. Am/Bbm-Complex 4:10, 5. Planet ORF 5:07, 6. Universe Of Blues Riffs 4:30, 7. Timewarp 6:28 , 8. Planet Trompet 4:28, 9. Entry To Heaven The Next Generation of Sound 1:17 , 10. Planet Pifgonia 3:39, 11. In Heaven 5:18, 12. Fools (The Church of Jazz) 4:24,13. Hyperweays To Brazil 5:38, 14. Stardate 5:04


Alex MacHacek: guitar: Raphael Preuschl: electric bass: Michael Provaznig: drums; Paul Urbanek: keyboards.

Album Information

Title: The Next Generation of Sound | Year Released: 2001 | Record Label: Extraplatte
The Next Generation Of Sound 2000