International Jazz Mando CD - Gruber Ruesz Quartet, "Sunny"
Christian Gruber Ruesz has produced a CD of Latin, funk, bebop, modal jazz, blues, and gypsy swing. An exciting recording of originals, jazz standards, and a nod to Frank Zappa and the Beatles. from MandoZine 2000 Awards
Christian Gruber Ruesz has produced a CD of Latin, funk, bebop, modal jazz, blues, and gypsy swing. An exciting recording of originals, jazz standards, and a nod to Frank Zappa and the Beatles. from MandoZine 2000 Awards
“Thanks to Christian Gruber-Ruesz the magical sound of the mandolin comes to Jazz."
"The world turned upside down! Portuguese mandolin meets modal jazz, blues meets bouzouki … In Sunny Christian Gruber-Ruesz creates a pot pourri that the listener is happy to take as it comes."
The mandolin is a plucked stringed instrument from the 18th century belonging to the lute family that earned its place in the Baroque and Classical music of composers such as, Antonio Vivaldi, Domenico, Scarlatti, Beethoven, Hummel, and Paganini. Around 1800 the Mandolin was predominant in Vienna and therefore boasts a great tradition within classical music. While it was never adopted as a main instrument for Jazz, the mandolin did find its way into American music in such forms as Bluegrass and Country, played by virtuosos such as Bill Monroe and David Grisman.
Mike Marshall is one of these Modern virtuosos (Gator Strut) and recently Chris Thile, the man called the Bluegrass Paganini praised for his work with American jazz pianist Brad Mehldau.
Christian Gruber-Ruesz is a guitarist based in Vienna who has already proved his great ability playing the Bouzouki, Gypsy Guitar and Mandolin on his first record “Sunny-Live at Aera”. On his newest record he plays solely the Mandolin and lets his notes run free in the Jazz context. As on “Sunny” (1999) Christian Gruber-Ruesz plays again with the outstanding pianist Roland Guggenbichler and bassist Karl Sayer, who leave their mark on this outstanding album with a wonderful combination of the hammered and plucked strings. Also contributing is the versed and often funky drummer Christian Grobauer, as well as Jamaican guitar-duo partner Loren Couch. Altogether they offer jazz with the pleasant joy of playing without the exaggerations of technical ability, in the compositions of: Andy Laverne, Antonio Carlos Jobim, Wayne Shorter, Paquito D’Rivera, and Karl Sayer himself.
Christian Gruber-Ruesz places the mandolin sound not as the main event, but rather the interaction between the musicians, to create a bright and pleasing band sound that can work on the listener for hours. The sound the musicians create is so natural one can hardly believe the mandolin is an unusual instrument for Jazz. Christian Gruber-Ruesz furthers the music of the mandolin with Latin American, Asian, jazzy, funky, and swing influences. He brings the mandolin into new territory.
Christian Bakonyi
Mike Marshall is one of these Modern virtuosos (Gator Strut) and recently Chris Thile, the man called the Bluegrass Paganini praised for his work with American jazz pianist Brad Mehldau.
Christian Gruber-Ruesz is a guitarist based in Vienna who has already proved his great ability playing the Bouzouki, Gypsy Guitar and Mandolin on his first record “Sunny-Live at Aera”. On his newest record he plays solely the Mandolin and lets his notes run free in the Jazz context. As on “Sunny” (1999) Christian Gruber-Ruesz plays again with the outstanding pianist Roland Guggenbichler and bassist Karl Sayer, who leave their mark on this outstanding album with a wonderful combination of the hammered and plucked strings. Also contributing is the versed and often funky drummer Christian Grobauer, as well as Jamaican guitar-duo partner Loren Couch. Altogether they offer jazz with the pleasant joy of playing without the exaggerations of technical ability, in the compositions of: Andy Laverne, Antonio Carlos Jobim, Wayne Shorter, Paquito D’Rivera, and Karl Sayer himself.
Christian Gruber-Ruesz places the mandolin sound not as the main event, but rather the interaction between the musicians, to create a bright and pleasing band sound that can work on the listener for hours. The sound the musicians create is so natural one can hardly believe the mandolin is an unusual instrument for Jazz. Christian Gruber-Ruesz furthers the music of the mandolin with Latin American, Asian, jazzy, funky, and swing influences. He brings the mandolin into new territory.
Christian Bakonyi
The history of jazz can be characterized as a non-violent battle for survival between the various instruments. In this art form the appearance of an immutable line-up of instruments that has outlasted the vagaries of time is illusory. Everything is specific to given periods of jazz history, everything is in transition. What today has an aura of eternity may tomorrow be relegated to the sidelines. The tuba, once responsible for the base notes, has been ousted by the double bass. The cornet has almost completely disappeared. And what of the clarinet? After the swing era it had to cede its place in the limelight. The saxophone, trumpet and piano have retained their dominance, while bass and percussion are still associated with the musical background — but who knows where they will be a few decades from now. Since the ’sixties exotic instruments have infiltrated the genre, and the ethnic movement has attracted attention to cultures remote from the urban world of jazz. Today we can look back to Alice Coltrane on the harp and Guy Klucevsek on the accordeon. Cognoscenti are also familiar with Rufus Harley, who squeezed the Scottish bagpipes, and Steve Turre, who uses sea shells to express his musical thinking. Meanwhile, classical instruments like the French horn, oboe or bassoon have found acceptance in the jazz family.
Christian Gruber-Ruesz, too, immerses us in a world of instrumental by-ways. True, the broad stylistic thrust of his music is familiar — Latin, funk, bebop, modal jazz, blues and gypsy swing. Yet Gruber-Ruesz sounds different. His perspective reaches far beyond these styles, is open to a variety of folk elements, and thus gives a personal slant to the jazz quartet. The Portuguese mandolin, the Greek bouzouki and the gypsy guitar alternate to produce unusual listening that sometimes recalls Vienna. Indeed, a contra-guitar also makes a guest appearance on two tracks. Gruber-Ruesz sees Vienna as a cultural and stylistic melting pot that symbolizes his aesthetic eclecticism. Incidentally, what you are hearing is a live recording and not the result of studio tinkering. Recorded at Vienna’s Aera café, the music takes its life from its air of spontaneity. Applause is audible, but only on two occasions. Gruber-Ruesz set out to create a wide musical span of the type found in a symphony. In formal terms, Live in Aera reminds me of a suite, but that will probably be all the same to listeners once they have been captivated by the stylistic range of this production. Which is all to the good.
The world turned upside down! Portuguese mandolin meets modal jazz, blues meets bouzouki … In Sunny Christian Gruber-Ruesz creates a pot pourri that the listener is happy to take as it comes.
Ljubisa Tosic
Christian Gruber-Ruesz, too, immerses us in a world of instrumental by-ways. True, the broad stylistic thrust of his music is familiar — Latin, funk, bebop, modal jazz, blues and gypsy swing. Yet Gruber-Ruesz sounds different. His perspective reaches far beyond these styles, is open to a variety of folk elements, and thus gives a personal slant to the jazz quartet. The Portuguese mandolin, the Greek bouzouki and the gypsy guitar alternate to produce unusual listening that sometimes recalls Vienna. Indeed, a contra-guitar also makes a guest appearance on two tracks. Gruber-Ruesz sees Vienna as a cultural and stylistic melting pot that symbolizes his aesthetic eclecticism. Incidentally, what you are hearing is a live recording and not the result of studio tinkering. Recorded at Vienna’s Aera café, the music takes its life from its air of spontaneity. Applause is audible, but only on two occasions. Gruber-Ruesz set out to create a wide musical span of the type found in a symphony. In formal terms, Live in Aera reminds me of a suite, but that will probably be all the same to listeners once they have been captivated by the stylistic range of this production. Which is all to the good.
The world turned upside down! Portuguese mandolin meets modal jazz, blues meets bouzouki … In Sunny Christian Gruber-Ruesz creates a pot pourri that the listener is happy to take as it comes.
Ljubisa Tosic
