Albert Mair
Albert Mair started to learn to play Violin and then changed to Piano. While he studied at the Technical University he already felt home in several genres of Jazz music. 1965 he grounded his first Quartet, 1966 he got the Gulda prize for Jazz soloists. He was member in the groups of Bill Grah, Uzzi Förster and Teddy Ehrenreich, and in the early 1970s he joined Hans Kollers Free Sound. He performs with his Trio, plays in duo with Richard Oesterreicher and together with Jimi U he is very succesful with their common project "J.A.Q.". He played with lots of national and international musicians, like Häns’che Weiss, Christine Jones, Erich Bachträgl, Leo Wright, Aladar Pege, Ack van Rooyen, Jimmy Woode, Art Farmer, Tony Scott, Benny Bailey, Carl Drewo, Dusko Goykovich, Zipflo Reinhardt or Peter Bockius.
Waltz for Charlotte
Audiosamples (click to start & stop):
Blue Waltz Visitation Zulu Zali
The Masquerade is Over
Seven Steps to Heaven
Waltz for Charlotte Del Sasser
Speak Low Bitter Sweet
This live recording is of one of the last concerts of the international Albert Mair Trio, recorded live, 25 years ago on January 2, 1996 in the original Porgy & Bess Jazz Club in Vienna. The trio was formed In the mid-nineties..its goal: to accompany Joan Cartwright and other singers. Soon thereafter an equal musical frame of mind moved the three musicians, Albert Mair (piano), Marc Abrams (bass) and Andy Winter (drums) to perform solely as a trio. Albert’s preferred formation, a musical dream team. Concerts in Austria, Germany and Switzerland followed. Marc Abrams is a bass player from New York City presently residing in Venice (Italy) who participates in radio and television broadcasts, jazz festivals, concerts and tours in the following countries: Germany, Switzerland, Austria, Italy, France, Greece and of course the USA. He has performed with many well-known American soloists (e.g. Chet Baker, Gil Evans, Steve Grossman, Lee Konitz...) as well as European soloists Kenny Weeler, Karl Berger and Heinz Sauer and the list goes on. He met Albert Mair and Andy Winter in the mid-nineties and formed a trio for the purpose of backing featured singers (see above). In the following years they performed solely as a trio. Andy Winter is a drummer from Vienna, Austria now living in NYC, USA and Berlin, Germany. He received his formal education at the Vienna Conservatory and gave concerts early on with greats of the local scene such as Karl Ratzer, Harry Stojka, Wolfgang Puschnig and others. In 1988 he went to New York to study at the New School and has since worked with jazz musicians such as Larry Goldings, Brad Mehldau, Ron Carter, Mark Whitfield, Peter Bernstein, Scott Colley, Chris Potter, Ben Monder, Donny McCaslin, and others. He and Albert Mair were also sidemen in the Jimmy Woode Trio before they formed the trio formation with Marc Abrams.The Trio is performing loosely, with greatinteraction and lots of space for the soloistic qualities of all three. Fine Standard versions and four originals of the bandleader.
1. Blue Waltz (Albert Mair) 2. The Masquerade is Over (Allie Wrubel, Herb Magidson ) 3. A Ballad For Her (Albert Mair) 4. Bitter Sweet (SamJones) 5. Speak Low (Ogden Nash, Kurt Weill) 6. Del Sasser (Sam Jones) 7. Visitation (Paul Chambers) 8. Zulu Zali (Albert Mair) 9. Seven Steps To Heaven (Miles Davis, Victor Feldman) 10. Waltz For Charlotte (Albert Mair)
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Read more...WIENER STANDARDS
Audiosamples (click to start & stop):
A new swingy sight on the best of the original Vienna Songs by the Albert Mair Trio (JAQ) and friends.
(feat. Richard Österreicher, Paul Fields, Martin Fuss...)
Almost simultaneosly at a time when Musicals and Classic songs were being written in America for the entertainment branch (from George Gerschwin to Cole Porter and many other songwriters who had come from Vienna and made their homes in the US) the classical “Wienerlied” (from Hermann Leopoldi to Robert Stolz) evolved. Both music forms of the highest quality, differing only in their interpretations.The Philharmonics and Jazz musicians in America presented their songs in perfect completion as far as arrangements, harmonics and instrumentation were concerned and therefore the compositions, popular, inextinguishable and ever-present and became “Standards”.
In Vienna, on the other hand, the first-class compositions were mostly performed at Heurigen (Wine bars direct at the wineyards) and in Cafes by more or less qualified “Music Makers”. The songs became renowned but their true quality remained hidden.
What could have been more fitting than to take these rich, equally popular Viennese compositions and interpret them as Standards, “Wiener Standards”.
1. Drunt in Der Lobau 3:39 2. Die Alte Zahnradbahn 4:12 3. I Häng An Meiner Weanerstadt 3:23 4. S‘ Fiakerlied 2:57 5. Der Alte Herr Kanzleirat 4:26 6. Zwa Aus Ottakring 5:16 7. Mei Muatterl War a Wienerin 2:55 8. Grüss Mir Mein Wien 5:58 9. Sechts Leut‘ln So War‘s Anno 30 in Wien 4:51 10. Heut‘ Kommen D‘ Engerln Auf Urlaub Nach Wean 2:53 11. S‘ Nussdorfer Sternderl 4:10 12. Wien, Wien Nur Du Allein 3:48 13. EsSteht EinAlter NussbaumDrausst inHeiligenstadt 3:42 14. IchKenn‘ EinKleinesWegerl ImHelenental 4:58 15. I Hab‘ Die Schönen Maderln Net Erfunden 4:37