(English follows Japanese)
By Takaaki Kondo, Tokyo Jazz Review
Florian Rossは1972年ケルン出身のPianist。ピアノと作曲をCologne, London、New York でJohn Taylor, Joachim Ullrich, Bill Dobbins, Don Friedman、Jim McNeelyに学ぶ。その後Vince Mendoza, Bob Brookmeyer, the Bamberg
Symphony Big Band, Peter Bolte, Joachim Schönecker, Tommy Smith, the Scottish National Jazz Orchestra, Jim McNeely, Dave Liebman, Don Friedman, George Duke, John Scofield, Kenny Wheeler, Ron
Mclure, Joe Lovano, Eric Vloeimans, Nils Wogram, John Hollenbeck, Jesse van Ruller, Jasper Bloom, Jochen Rückert, Bill Dobbins, Paul Heller等と共演。Europe, Asia, Australia、New
Academy of Music in Hanover, University of Music in Leipzig and Dresdenで教鞭をとり、現在はケルンの「Hochschule für Musik und Tanz」の教授を務める。またLarge Ensembleの編曲に定評があり、Metropole Orchestra, Vancouver Jazz Orchestra, Oktoposse, BMI Jazz Orchestra, Joe Lovano and RTE Dublin, Brussels Jazz Orchestra, Cologne Contemporary Jazz Orchestra, DLF、NDR、WDR、HR、SWR big bandにアレンジを提供している。2000年にはDanish Radio Big Bandの作品で"International Thad Jones Competition" を獲得。2006年には"WDR Jazz prize for composition"を受賞している。
本作はFlorianの6枚目のLeader Album。なんとPianoとオルガン（Hammond RT-3）での「一人Duo」です（嫌な予感が）。もちろん彼自身でマスタリング
で、内容なんですが、「頭でっかち実験音楽風」の演奏を想像していたら見事に裏切られました。勿論良い意味で。もうね、優しいです。どの曲もじんわりと優しく歌い上げています。「Bill Evans風」と言っちゃいましょう。やってることもBill Evansの"Conversations with Myself"(1963)と一緒だしね（オーバーダブという意味で）。でもBillの緊張感溢れる演奏※より全然まったりできます。素敵なんです。PianoとOrganのInterplayの息もピッタリ（当たり前か）
※Bill Evansというと判で押したように「リリカル」「叙情味溢れる」という形容詞を自動的に使う「脳死」状態のJazz Writerが目立ちますが、本当に音楽聴いてんのかね？確かにリリカルな部分はあるが、テクニカル又は楽理的に云えばBill Evansがやっていることは非常に硬派ですよ。音色も硬いし、右手でSingle Noteを弾いている時の左手のコンピングが、右手のMelodyのアクセントのところでガツガツとブロックコードを叩きつけている様は、どちらかと云えばMcCoy Tynerに近い。『硬派なPianist』ですよ、Billは。ちゃんと音楽聴いて書いてんのかね？それでおカネ貰えるんだ。良い商売だねぇ～。ただ最低でも日本人Jazz Musicianの作品にトンチンカンなReviewを書いて価値を下げないでね。みんなアンタらのレベルの低さに不満なんだけど言うと何書かれるかわからなくて怖いから云えないんだよ。だからワタシが言ってるんだよ。ヨロシクね～
Florian Ross - Yamaha C 7 Grand Piano
Florian Ross - Hammond RT-3 Organ
1. Alice in Wonderland
5. I Love Music
6. I Should Care
7. Let's Play a Bit
8. Everybody's Song But My Own
9. Meditation in D
10. Porridge Experience
11. Der Mond ist aufgegangen
❑ Florian Ross - Website
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Florian Ross , Goodbye , Blinds & Shades
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Ross speaks with Ross. Dialogues between one and the same person. No psychotherapeutic experiment to bring together a split personality, but a musical coup, which the 40-year-old maverick has hatched on the keys themselves. The real challenge is for an ambitious musician like him finally in the fact from time to time even to question. It pianist Florian Ross brings all? Test Object: a Yamaha C7 grand piano on which he varies the melodies of "Alice In Wonderland", "Blackbird" or "The moon is up" and runs some clever "rossische" original compositions about. His alter ego, the organist Florian Ross, has already shown on the previous album "Wheels & Wires" that Hammond RT-3 could be a serious option for the future. Now both are so opposite, thanks to the modern studio technology: the esthete and the Berserker, the mainstreamers and the Jazz Rockers, the impressionist and the graffiti sprayer. What is the description of her as the narcissistic gimmick of a big boy anmutet works, actually in reality. Both poles repel each other, but rather an interesting nested mesh. The balance between head and heart is right and the pianist and organist learn from each other. A win, not just for Florian Ross.
- By Reinhard Köchl, Jazz Thing
Born in 1972, he studied piano and composition in Cologne, London and New York with John Taylor, Joachim Ullrich, Bill Dobbins,Don Friedman and Jim McNeely.
The first of Ross´s seven albums was released in 1998 under his own name. Ross´s recordings look closely at both the multifaceted jazz tradition and his extraordinary handling of contemporary material. In all formations, from trio to quintet, from string orchestra to brass ensemble, Ross succeeds in reconciling two seemingly different musical forms: improvised and composed.
While many of his European colleagues consider it a virtue to distance themselves from the mainstream, another camp makes an effort to continue the American jazz tradition in Europe as authentically as possible. Florian Ross's music is a refreshing break from this often embarrassing programmatic context. Ross not only ignores the demarcation line but translates traditional aspects into a language of the present. His lack of interest in the idea of “higher, further, faster“ corresponds to his fondness for deeper sound regions and warmer timbres, as sounds oscillate between blue, orange and terracotta.
This foundation invites inspiration: the architecture is occasionally daring but never cool. Intellect and feeling do not exclude each other, the head listens to the stomach and vice versa. The music radiates balance, something that is often propagated but seldom achieved. The stark and songful does not trigger disquietude within Ross; on no account edgy actionism. He knows that it´s not what you say but how you say it, and that less is (sometimes) more.
It is impossible to simply reduce Florian Ross to a pianist or improviser, or even an arranger and composer, as his work cannot be limited to a single genre or category. He is much too much the pianist to abandon himself solely to the compositional architecture, and much too much the composer to succumb to a mere fascination of the piano. He is a musician who thinks, hears, writes and plays musically.
Ross has played and worked with Vince Mendoza, Bob Brookmeyer, the Bamberg Symphony Big Band, Peter Bolte, Joachim Schönecker, Tommy Smith, the Scottish National Jazz Orchestra, Jim McNeely, Dave Liebman, Don Friedman, George Duke, John Scofield, Kenny Wheeler, Ron Mclure, Joe Lovano, Eric Vloeimans, Nils Wogram, John Hollenbeck, Jesse van Ruller, Jasper Bloom, Jochen Rückert, Bill Dobbins, Paul Heller and Michael Buckley. He has given concerts all over Europe, Asia, Australia and New Zealand. Ross also taught at the Academy of Music in Hanover, Weimar and Mainz, and at the University of Music in Leipzig and Dresden. He is currently teaching Piano and Composition at the Hochschule für Musik und Tanz, Köln. In addition to his CDs he released five of his own compositions in the first European Real Book.
Among many international awards, Ross received first prize in the Danish Radio Big Band International Thad Jones Competition in 2000. He has composed and arranged for ensembles including the Metropole Orchestra, Vancouver Jazz Orchestra, Oktoposse, BMI Jazz Orchestra, Joe Lovano and RTE Dublin, Brussels Jazz Orchestra, Cologne Contemporary Jazz Orchestra, as well as for DLF (Deutschlandfunk, the nationwide broadcasting station, NDR (Norddeutscher Rundfunk), WDR (Westdeutscher Rundfunk), HR (Hessischer Rundfunk), and SWR (Südwestrundfunk).
In 2006 Florian Ross received the prestigious WDR Jazz prize for composition.
❑Biography FLORIAN ROSS
First and Last Name: Florian Ross
Date of Birth: 01. August 1972
Place of Birth: Pforzheim, Baden-Württemberg
Permanent Residence: 50937 Köln, Wichterichstr. 34
Marstall Status: married, three children
1982-1992 High School Hebelgymnasium Pforzheim, A-Levels (Graduation)
1989-1990 BA Senior High School, Broken Arrow, Oklahoma, USA
Graduation: US High School Diploma
Musical Education, Studies:
1990-1993 Member of the Youth State Jazz Orchestra Baden-Württemberg
1992-1997 studied Jazz-Piano (Perfoming Arts as well as Education major) at
the HfM Köln with Prof. John Taylor, second subject drums
1994 Student representative of the HfM Köln at the 5th Annual IASJMeeting in New York City, concerts at the UN and the JVC Jazz
1995 GVL/GEMA-Scholarship for the Summer Jazz Workshop, Banff,
1995-1996 studied Jazz-Piano und –Composition at the Guildhall School
of Music & Drama, London, with Simon Purcell, Eddie Parker,
Scott Stroman and Django Bates
Graduation: Postgraduate Diploma
1997-1999 studied Jazz-Composition at the HfM Köln with Prof. Joachim Ullrich
and Prof. Bill Dobbins
1999 active member of the BMI Jazz Composers’ Workshop, New York
1999-2000 studied Jazz-Composition and –Piano at New York University (NYU)
with Jim McNeely, Ron Sadoff and Don Friedman.
DAAD scholarship; Eubie Blake scholarship
(Teaching and Bandleading Experience:)
2000 student-teaching bandleading at New York University (NYU)
2001-2003 Lecturer for Jazz-Composition und –Piano ad the Johannes
Gutenberg Universität Mainz
2001-2002 Jazz-Composition and -Ensemble-Workshops at the HfM Hannover
and the Conservatorium van Amsterdam (Netherlands)
2003 Member of the jury at the Landes-Arbeitsgemeinschaft (LAG) Jazz,
2004 Ensemble- and Composition-Workshop with String Orchestra and
Jazz Quartet at the HfM Leipzig
2004-2005 Ensemble- and Composition-Workshops at the HfM Weimar
2004, 2009 Member of the Jury at the international Composition Competition of
the Brussels Jazz Orchestra
2005 Guest- Composer and –Conductor at the Bundesjazzorchester
2005 Jazz-Composition and Ensemble-Workshops at the HfM Hannover
2006-2007 Lecturer for Ensemble-Methodology, Composition, Ensembles and
Piano at the HFM Hannover
2006 Jazz-Composition and Ensemble-Workshops at the Sydney
Conservatory of Music, Australia
2007 Jazz-Composition and Ensemble-Workshops at the Auckland
Member of the Jury at the Bundesbegegnung JugendJazzt, Halle
ab 2008 Lecturer for Jazzpiano, -Composition and –Ensemble at the HfM Köln
2008 Lecturer at the Bundesbegegnung JugendJazzt, Trossingen
2009 Workshop for Jazz-Komposition Jakarta, Indonesien
8Prizes and Honors:)
1987 1. Prize Landesrockfestival Baden-Württemberg, JazzRock
1988 1. Prize Jazz-Competition of the Jazz & Rockschule Freiburg
1989 Jazz-Award and Talent-Award of the BA High School, Oklahoma,
1993 1. Prize Jazz-Piano competition der Hochschule für Musik, Köln
1996 1. MCPS Composition Prizefor the BBC National Big Band competition
1997 1. Prize International Jazz-Composition Award, Monaco
1998 1. Prize Big Band Composition Competition of the city of Berlin
1998 1. Prize Big Band Composition Competition of the HR; Scholarship of
the Stiftung Kunst & Kultur, NRW
1999 2. Prize of the Jazz Composers’ Alliance International Competition
(USA) in the category large ensemble
2000 1. Prize International Thad Jones Competition of the Danish Radio
Jazz Orchestra; Scholarhsip of the Stiftung Kunst & Kultur, NRW
2002 Stippend of the city of Köln
2002 2. Prize Composition Competition of Big Band Blechschaden,
2003 Nominated for the SWR JazzPrize
2004 Nominated for the SWR JazzPrize
2006 WDR Jazz-Prize for Composition
1998 Florian Ross Quintet – Seasons & Places
feat. Matthias Erlewein, Nils Wogram, Dietmar Fuhr, Jochen Rückert
1999 Florian Ross – Suite for Soprano Sax & String Orchestra
feat. David Liebman
CD, Naxos-Jazz, SWR Co-Production
1999 Brussels Jazz Orchestra – The September Sessions
CD, de Werf
2000 Florian Ross Brass Project – Lilacs & Laughter
feat. Claus Stötter, Ingolf Burkhardt, Nils Wogram, John
CD, Naxos-Jazz, WDR Co-Production
2000 Made in Europe – The Naxos European Jazz Collection
“An overview of dome of the most exciting artist on the current
European scene…”, CD, Naxos-Jazz
2004 Florian Ross Trio – Blinds & Shades
feat. Rémi Vignolo, John Hollenbeck
CD, intuition, WDR Co-Production
2004 Nils Wograms Nostalgia Trio – Daddy’s Bones
with Dejan Terzic, Florian Ross (Hammond B3)
2005 Florian Ross Quintet – Home & Some Other Place
feat. Matthias Erlewein, Claus Stötter, Dietmar Fuhr, Stéphane
CD, intuition, DLF Co-Production
2006 Florian Ross Trio - Big Fish & Small Pond
feat. Dietmar Fuhr, Stéphane Huchard
2007 Florian Ross - 8 Ball & White Horse (Music for 5 Saxophones)
feat. Frank Vaganée, Felix Wahnschaffe, Jasper Blom, Wolfgang
Fuhr, Niels Klein, Dietmar Fuhr, Jonas Burgwinkel
CD, intuition, DLF Co-Production
2008 Nils Wograms Nostalgia Trio – Affinity
with Dejan Terzic, Florian Ross (Hammond B3)
2008 Jazzgroove Mothership Orchestra - Dream Wheel (live)
Big Band aus Sydney, Australien
CD, Birdland Records
2009 Trio 120
with Wolfgang Fuhr, Dietmar Fuhr
CD, Fuhrwerk Musik
(Other Professional Work:)
Concert tours for The German Goethe Institut to Croatia, Russia, Finnland, Portugal, China, Hong-Kong,
Australia, New Zealand, Indiea, Sri Lanka, Bangladesh, Mexico, Indonesia.
Commisions and Guest Conductor for the NDR Big Band, WDR Big Band, hr Big Band, Metropole Orchestra,
Cologne Contemporary Jazz Orchestra, Brussels Jazz Orchestra, Bach Blech & Blues, RTE Irland, Scottish
National Jazz Orchestra, BMI Orchestra, Königwerq, Orchester des Henri Mancini Institute, Danish Radio
Jazz Orchestra, Big Band der Bamberger Symphoniker, Sunday Night Orchestra, Cecile Verny, Celine
Rudolph, Joachim Schönecker, Frank Sackenheim.
Publication of5 Compositions in the European Realbook.
Concert at the "Berliner Jazzfest 2007" mit “Florian Ross 8Ball”
Concert at the "German Jazz Festival" at the jazzahead trade-fair Bremen 2006 mit the “Florian Ross Trio”
Concert at the "German Jazz Festival" at the jazzahead trade-fair Bremen 2008 with “Florian Ross 8Ball”
❑ALBUMS MASTERED BY FLORIAN ROSS
Since I was never really content with the situation that after a mix you give away a recording for mastering and it sounds really different, I decided some years ago do my own mastering from now own.
I've been watching other people do the process since 1998 and then successfully mastered my first own trio album in 2005. I feel that one of the flaws of mastering studios often is that they are paid by the hour, hence they try to finish the job as fast as possible. Also they have usually a ton of outboard equipment of which rarely more than 10% gets used.
Also in Jazz, the artist is mostly the producer, so when mastering, I try to transport the sound of the mix to the final CD as closely as I can without changing the character of the recording.
Some things, however, regularly need fixing, such as:
the amount of treble, brilliance
the amount of bass
the "punch" and clarity of the bass
diminishing shrill top end
getting rid of boomy bass
sometimes very subtle "tape compression" or "tape saturation"
To achieve this goal I use Samplitude with external plugins, hence the quotation marks - no tapes rolling here. During the last 20 years I spent time with a lot of sound professionals in many studios and got really tired of the voodoo behind certain opinions like analog vs. digital and such. Often times the people who had the strongest opinions were not to the least open to anything but their opinion and never really made an effort to make real comparisons.
I found that it is far more valuable to have someone who understands the music and the sound the artist is after than someone with a huge list of expensive gear who is really only interested to use it.
When I am mastering I use equipment that my ears find neccessary to have - no more no less. And, of course, the most important factor: time.
I usually let a new mastering project sit several days and work on it off and on, always with a fresh set of ears. I use two sets of studio monitors, I listen to it in the kitchen, in the car, on my ipod, in the living room. On a cheap Hi-Fi system on an expensive british "handmade" Hi-Fi and so forth. I usually burn between 5-10 versions on CDs and listen to them again and again.
When the recording sounds good in all those situations, I am finished.
That's my idea of what mastering should work like. If you are interested in having your next record mastered by me, please drop me a line. I can deliver DDPs, Image files ore physical CDs all including CD-Text, ISRCs, EAN (if needed).