Owl & Mack Loves It @ Schokoladen, Berlin Oct. 25, 2012
All Photos by – Patrick Pagel
This Thursday we have something special for you:
Owl & Mack loves it!
Boris Hauf – barisax, guitar, vocals
Jenny Parrott – fiddle, guitar, vocals
Vaughn Walters – guitar, guitar, vocals
Kurt Johnson – bass
Derek Shirely – drums
Thursday 8PM – Oct 25, 2012
Acker Str. 169
Concert starts 8PM sharp!!!
Doors open at 7PM.
Owl & Mack born out of love for Chicago Blues, alt-country, free-folk-singer-songwriting, cryptical-obscure dark-vamp-based jazz, minimal Drone music, nocturnal birds of prey and incredibly robust and durable trucks.
Loves it! is kinda country/old time/early rock, really great vocals, very energetic sometimes in a sweet innocent way, tending toward the brutal when the demented bassist joins them, harmony driven acoustic music band from Austin, Texas. They’ve been on a 2 month tour here in Europe. We played a bunch of shows here in Berlin and are tight and loose, both at the same time.
Come out to support your local texan hybrid band playing one of the hottest venues in town.
Rico Repotente will be joining us on the bill and partying his newest release: Dust on the Halo. Check it.
Show starts at 8pm sharp. Like I said. At 8pm. (20:00)
Hope to see you!!
Loves it! is kinda country/old time/early rock, really great vocals, very energetic sometimes in a sweet innocent way, tending toward the brutal when the demented bassist joins them, harmony driven acoustic music band from Austin, Texas.
I’m already loven it… I’ll be joining them for some songs. Loven it even more.
Would be great to see some of you.
LOVES IT (Austin, Texas)
Friday, Oct 19
Sunday, Oct 21
White Trash Fast Food
Monday, Oct 22
Bassy Club, Wild Music Before 1969
Write up by Chicago Reader’s Peter Margasak. Thanks thanks thanks:
“Berlin-based Austrian reedist Boris Hauf has been a regular visitor to Chicago since 1998, often taking up residency for months at a time. He’s developed close ties and friendships with many locals, mostly notably the members of TV Pow. Hauf arrived here Sunday night for a stay of two and a half weeks, and on Wednesday he’ll perform at the Hideout in an improvising quartet with bass clarinetist Jason Stein, bassist Anton Hatwich, and drummer Tim Daisy. Also on the bill is a project called Baseless led by cellist Fred Lonberg-Holm (here doubling on guitar), which includes saxophonist Nick Mazzarella, percussionist Steve Hunt, and analog synth player Aaron Zarzutzki.
Two of Hauf’s latest recordings were cut in Chicago during a 2010 visit, and they both bring together players from the improvised and experimental-music communities. Next Delusion(Clean Feed) is a sextet outing with fellow reedists Stein and Keefe Jackson and drummers Frank Rosaly, Steve Hess, and Michael Hartman, and as Reader contributor Bill Meyer writes in his liner notes, “You might find the Berlin-based saxophonist’s accompanists on the same bill, but not in the same group.” Indeed, Hauf combines aesthetics and personnel from both worlds not only on Next Delusion but also on Proxemics (Creative Sources), a quartet album with Jackson, Hess, and keyboardist Judith Unterpertinger; they dig deep into sustained drones rippling with subtle textural variation, while maintaining a clearly improvisational mind-set.
Everyone joining Hauf for Wednesday’s performance is rooted in Chicago’s jazz and improvised-music community, but all of them are flexible enough that things could go in any direction.”
BORIS HAUF SEXTET, NEXT DELUSION
Boris Hauf is probably still best known as a participant in the Vienna improvising scene of the turn of the millennium, a saxophonist as comfortable in electronically rich environments (like Efzeg) as in micro-improvising. This new sextet music – with Hauf on tenor and soprano, Keefe Jackson on tenor and contrabass clarinet, Jason Stein on bass clarinet, and Frank Rosaly, Steven Hess, and Michael Hartman on drums (Hess also adds electronics) – is a rich amalgam of the two approaches. Next Delusion often sounds as if something of the woody intensity of Gebhard Ullman’s clarinet trio (at least their methodology if not their instrumentation) meets with a percussion sound midway between the spare beats of Martin Brandlmayr and a kind of Paul Lovens bustle. The opening “Gregory Grant Machine” is terrific, moving between sections of Polwechsel’s flinty sparseness and solemn moving chords from low woodwinds, continually dipping in and out of silence. It’s an approach that Hauf favors for this instrumentation, and he uses it even more effectively on “Eighteen Ghost Roads,” whose slow sectional chords rise patiently and deliberately to a stately, ROVA-esque feel before erupting in a threeway percussive rumble that sets up a different context for the same horn movement. There’s plenty of variation on the record, lest you think there are simply different settings for this general approach. Each tune features great attention to tonal / timbral contrast, often pitting high whining feedback against eructations from the lower horns. A burble of reed popping sets the course on “Fame & Riches,” which morphs via woven tones and the gentlest, deftest cymbal work into a sustained hum of an atmosphere. And the closing “Wayward Lanes” races along with a skirling series of bass clarinet patterns wending through a thicket of rimshots. It’s a compelling record, a consistent study of contained tension and contrasts.
Todd Carter – Vocals, Percussion
Brent Gutzeit – Vocals, Percussion
Michael Hartman – Vocals, Percussion
Boris Hauf – Vocals, Percussion