"Chapeau vor dieser eindrücklichen Gesamtleistung!"
- Hans Peter Schär, Thurgaukultur (CH)
"Die Band ist superb!"
- Peter Rüedi, Weltwoche (CH)
LINE UP LIVE 2018:
LIA PALE - Voice, Flute
INGRID OBERKANINS - Percussion
HANS STRASSER - Bass
MATHIAS RÜEGG - Piano
MARIO ROM - Trumpet
Born in Upper Austria, lives in Vienna. Ingrid Oberkanins studied traditional percussion at the Bruckner Konservatorium in Linz and the Musikhochschule Vienna. For several years she played for the Jeunesse Orchester Linz under Franz Welser-Möst and the Junges Orchester Wien under Herwig Reiter. After graduating she increasingly turned to jazz and non-European rhythms, receiving tutoring by Dudu Tucci (Brasilien), José Eladio Amat (Cuba) and Famadou Konaté (West Africa). She appeared alongside established names such as the Vienna Art Orchestra, Wolfgang Puschnig and Linda Sharrock, Jamaaladeen Tacuma, Fred Frith, Dave Samuels, David Friedman, Krzysztof Dobrek, Peter Herbert, Beni Schmid, Urszula Dudziak, Jay Clayton, Doretta Carter, Anna Lauvergnac, Sabina Hank and Celia Mara, and performed at international Jazz festivals in London, Paris, Montreux, Toronto, Montréal, Vancouver, The Hague, Moers, San Sebastian, Vienna and Saalfelden. Additionally, Ingrid Oberkanins is an active contributor in the fields of improvisation and New Music, collaborating with Christian Muthspiel (Klangwolke Linz, 2001) and Herwig Reiter, as well as working with the Burgtheater Vienna and the improvisational theater group “urtheater”. In 2004, she received the Hans Koller jazz prize for “Side(wo)man Of The Year”. Since the fall of 2004, she has been lecturing at the Universität für Musik und darstellende Kunst, the renowned university for music and the performing arts, in Vienna.
Born 1952, in Zurich, mathias rüegg completed his studies to be a primary school teacher and taught for a while invarious special needs schools. From 1973-75, he studied classical composition and jazz piano in Graz. In 1976, he moved to Vienna, where he worked as a free-lance pianist. Tired of solo work, he created the Vienna Art Orchestra in 1977. Since then, he has written almost all of the VAO’s programs, adding up to nearly 500 compositions and arrangements, and has handled the management and organization of the orchestra himself. From 1983-87, he also led the Vienna Art Choir. In the years 1984-86, he was voted No.1 Arranger by Down Beat...
Born in 1959. Permanent member of the Fritz Pauer Trio since 1990. Hans Koller prize 2005. Classical doublebass-studies at the Mozarteum Salzburg and at the Musikhochschule Wien. Beeing highly versatile musician and sideman in demand within multiple styles and genres, he had the privilege to play with international Jazzgreats like Benny Golson, Art Farmer, Vienna Art Orchestra, Chico Freeman, Sheila Jordan, Chet Baker, Harold Mabern, Gene Harris – just to name a few, as well as with almost everyone out of austrias top jazz scene. Appearances at numerous Jazzfestival, involvements with famous Actors and Chansoniers like Maria Bill or Michael Heltau and a busy teaching schedule add to his profile.
Any young Austrian jazz trumpeter still in his early 20s who decides to go out and record his own trio CD so early in his career is probably either completely naïve, crazy or so incredibly talented that he can follow his own instincts with a good chance of success. The latter was the case when 22-year old Mario Rom and his trio Interzone recorded “Nothing is True” on the Laubrecords label in 2012. Mario Rom, who has the atemporal air of a Buddhist monk, started out by studying classical music at the early age of 8 with his father, trumpeter Bernd Rom, continuing on with Prof. Josef Eidenberger at the Anton Bruckner Privatuniversität in Linz. Rom started playing jazz informally, in much the same way as it happened during the Golden Age of Jazz, before there were any academic jazz schools and when musicians developed their skills simply through “hearing, playing and practicing”. What weighs heavily in his favor is his exceptional ability to move between styles: from the “Early Styles” of Louis Armstrong and others, through Booker Little and Don Cherry, to his main trumpet icon, Ambrose Akinmusire. It’s also remarkable how he has managed to develop his own signature style along the way. It will be very exciting to watch as his career takes off.