This project started in 1992 based on the trio 'Papa Carlo', with Steve Magnusson on guitar and Chris Bekker on electric bass. We worked on a concept of 'slow music', improvised music that would evolve slowly and use minimal, but evocative ideas.
I had been working on a double bass drum set-up, albeit not in the jazz-rock or speed metal vein.
In 1992 Rhythms Magazine held a competition for unsigned bands, where the prize was day of recording at Platinum Studios, one of the top Melbourne Recording Studios.
It has since become Sing Sing South.
In a circular historical twist, Dave Flett, who designed my own studio, Pughouse Studios,
had been the designer of Platinum Studios.
We sent in a cassette tape - I can't remember where or how we recorded it - and won!
We recorded about 15 tracks plus 5 or 6 drum solos in one day with engineer Chris Corr.
Listening to the rough mixes I kept hearing an additional voice - maybe a horn player.
One of the last recordings I made before moving to Australia had been with the wonderful Italian trumpet player, Enrico Rava.
I decided to ask him if he would be interested to play on this album.
Communication was slower then: Cassette sent by mail, no internet, expensive phone calls.
I remember that we communicated also via Fax. At agreed times I would send a fax to the newsagent in the town where Enrico lived and he would go and pick it up.
Enrico listened and said he would be happy to record.
We agreed on a fee and found a time when we were both in Berlin, where we recorded in the studio of my publisher, Bit.
It was an awesome experience, watching a jazz legend performing at his brilliant best.
After approaching two tracks in the familiar fashion of listening to the track and then recording a couple takes, Enrico announced 'Don't play the track first, just hit record.'
Almost all tracks on the album were recorded in this way with Enrico just playing one take.
A true master.
Workshops with a Difference.
A new educational project by Mirko Guerrini and Niko Schauble.
Every musician hits bumps and road blocks in their journey to find their own voice.
The overwhelming amount of theory that seems to be ‘required’ and
how to apply all those theory rules and transform them into sound?
There is so much music out there, so what should I listen to?
Why does it feel so hard to play by ear or to transcribe a simple bass line or a drum groove?
Niko and Mirko will share their expEARiences of learning and playing music.
Which musicians, songs and concepts guide and nurture them?
Moments of sudden inspiration.
Journeys of slow exploration and gradual discoveries.
Ongoing research. Pitfalls.
Wrong turns that turned into new paths.
for Symphony Orchestra and Jazz Trio
featuring the Nick Haywood Trio
Commissioned by the University Orchestra, Ulm.
Premiere performance scheduled for July 2022