Here’s the allaboutjazz.com-questionnaire (also known as Take Five with…)

You can find an interview with Michalis Limnios, published by  online-magazin blues.gr here.)

Boogie woogie piano was quite the rage in the 1930′s and the interest didn’t wane until the following decade. There have been some mini-revivals in the years since then led by musicians like Commander Cody and Mitch Woods. Add to that list Otmar Binder, a Austrian piano player who has fallen for the allure of the music’s driving beat. Boogie woogie tunes often favor rapid tempos that can prove challenging for those blessed with less than the fleetest of fingers.
Binder and his bandmates, Alexander Lackner on bass and Michael Strasser on drums, quickly demonstrate their talents. After Lackner opens the proceedings with a brief solo, Binder digs into “Homerun”, his fingers rolling up and down the keyboard over the solid mid-tempo rhythm. The other straight trio track, “All the Way”, takes a minute to settle into the familiar pattern as Binder offers some subtle variations on the standard progressions.
Binder shares the spotlight with fellow pianist Christian Dozzler on five cuts . Binder’s strong left hand powers “Steamin’ Away” with Dozzler accompanying him on harmonica. The pace slows on ”Bluesprint” as the two keyboard aces engage in a savory duet. They follow that up with another easy-rolling dialogue on “Travelin’ “ while “Uphill” pleases with a jaunty approach. For his final appearance, Dozzler blows a robust, unaccompanied harp solo on “Sugar Cane”.
Guitarist BJ Cole makes his presence known on “Rising River Boogie”, his pedal steel giving the cut a country feel while Binder drops several inventive runs into the mix. Oliver Gattringer takes over the drums on “Looking Forward” and his forceful style elicits an energized response from Binder. The leader’s spell-binding efforts on Brighton to Boston” are answered by mournful tones from Cole’s steel guitar. “Common Ground” is a toe-tapper with hardy contributions from both men. The last two tracks, Venice Stomp” and “Floyd’s Turn” slip back into the mid-tempo mode with the letter cut enhanced by a three piece string section and a vocal chorus.
The musical fireworks are plentiful on “At Last” as Binder engages Charlie Furthner in rousing cutting contest that ends in a draw. Geri Schuller’s organ brings a warm gospel feel to “Changes To Be Made”, another highlight with Binder showing the enormous depth of emotion he can draw from his instrument.
Despite using a variety of recording studios, there is a consistent sound from track to track. You will really appreciate the exquisite sound quality, especially on the piano duets where you can clearly distinguish what each of the four hands is playing. The lone shortcoming on the all-original program is that Binder never really cuts loose at a blinding tempo. It seems an odd omission as he clearly has the chops to play at a faster pace. All in all, this one is a burnished rendering of a musical style that refuses to fade away and Otmar Binder’s jubilant playing makes it worth checking out.. (Mark Thompson)

http://www.illinoisblues.com/bluesartists/otmarbinder.htm

There’s more to modern Boogie-Woogie than Jools Holland, and Austrian piano-player Otmar Binder pays tribute to the past masters with style, grace and awesome technique. These numbers are almost all new, and he’s backed mainly  by drums and double-bass, plus extra piano and organ and several appearances from the ever-immaculate steel guitarist BJ Cole, who adopts a smooth, jazzy style which fits in a treat. It’s a slick, sophisticated take on a barrelhouse tradition

http://www.vintagerockmag.com

It’s a brave artist that releases a dedicated boogie-woogie album so long after the passing of that genre’s peak popularity. However, this modern take, by Austrian pianist Binder, on a musical style made famous by the likes of Pete Johnson, Albert Ammons, and Meade „Lux“ Lewis in the 30s and the 40s, is an understated gem of a recording.

Despite it’s vintage feel, this is contemporary music, with most of the seventeen tracks written or co-penned by Binder. With accomplished support from Alexander Lackner on bass, Michael Strasser on drums, BJ Cole on occasional pedal steel or slide guitar, plus a lengthy cast of additional musicians, the „trio“ billing is somewhat misleading, yet this is not the ivory-thumping, multiple piano variety of boogie-woogie.

Instead, we get a more considered, thoughtful, jazz-related version featuring instruments as diverse as Hammond B3 and viola. „Homerun“ and „Rising River Boogie“ are traditional instrumentals with a wandering bass-line vamp. „Bluesprint“ and „Brighton to Boston“ are bluesy numbers that could pass as Otis Spann originals.

Geri Schuller’s B3 work on the gentle „Changes to be made“ is an album highlight while harmonica fans won’t be disappointed by Christian Dozzler’s artistry on „Sugar Cane“.

This is a welcome and stylish reinvention by top quality musicians.

Morgan Hogarth, R2magazine, rock-n-reel.co.uk

Meade Lux Lewis and Jay McShann would be astounded and delighted — Boogie Woogie piano from Vienna, Austria. I wouldn’t have believed it. But Binder explains that, as a kid, he was introduced to that style from a record brought home by his father. That was it, I was hooked. And Binder gives you a brawny, buoyant picture of the music that captured him long ago. With an ensemble that includes bass, drums, pedal steel and steel guitars, among other contributors, Binder brings a contemporary aroma to boogie woogie, but never loses its essence. For example, don’t be thrown off by guitars usually reserved for cowboy music. Somehow, they fit quite comfortably here. Some highlights include “Steamin’ Away,” a relentless blues which features a Sonny Terry-like harmonica solo by one Christian Dozzler. “At Last” (not to be confused with the standard of the same name) is straight-forward, bluesy, pure boogie woogie piano; and the same could be said of titles such as “Home Run,” “Travellin’,” and “Brighton to Boston.” On all these and lots more (17 in all!), Binder and a host of pals make it clear that there’s more than the opera house in Vienna!

George Fendel, Jazz Society of Oregon

Central Europe has long been  a bastion of  boogie woogie for several decades now, and although Otmar Binder is a new name to me, it seems safe to state that this Austrian piano player should occupy  a position near the top of  the continental piano pantheon. This CD is an admirable and entertaining instrumental set presenting not only boogie woogie but also New Orleans tinged R&B, blues (guest Christian Dozzler adds some fine harp in addition to his expected piano playing), and best of all, several numbers that have British pedal steel guitar supremo B. J. Cole supplying a western swing feel to several numbers, whilst the closing number is a little surprising. Piano blues albums sometimes get criticised for being samey – this is anything but.

Norman Darwen,  bluesandrhythm.co.uk

Let us start by saying our knowledge of boogie woogie starts with Jerry Lee Lewis and Little Richard and ends with Jools Holland with very little in between and certainly nothing pre 1950’s, so how authentic or innovative the new album from the Otmar Binder Trio is we have no idea but we certainly have a deep understanding of how absorbing it is, the nonstop reaction of heart and limbs testifies to that. Boogie Woogie Turnaround is a blast of warm and enchanting instrumental tracks which light up the senses and excite the day with enthused passion and flair from musicianship which simply dazzles.

Released September 24th through Jump River Records, Boogie Woogie Turnaround is the fulfilment of a dream of Otmar Binder, to play with the most accomplished and instinctive genre musicians. The record sees him playing the piano alongside Alexander Lackner on bass and Michael Strasser on drums as the Otmar Binder Trio but also features the immense skills of pedal steel guitarist BJ Cole and multi instrumentalist Christian Dozzler on certain tracks, as well as Geri Schuller and Charlie Furthner elsewhere. The result is a magnetic and mesmeric release, organic and heart borne which is inspired by and a return to, as Binder says, “…some of my first strong musical experiences, hearing people like the German boogie-player Axel Zwingenberger in the early eighties,” his passion for the music and seed of his dream beginning, “…when his father brought him home the debut album Shake That Boogie-Woogie by the Mojo Blues Band.”

The seventeen all new pieces which make up the album are tracks which are nicely varied, many offering an extra breath of folk, blues, and emotive atmospheres to transport one into vivid scenes and lives. Composed by Binder alone or in collaboration, the songs not only leave thoughts deep in relaxed warmth or heated energy but also portray the obvious fun which was felt by their creators during recording them. Tracks like the boisterous Homerun, Steamin’ Away with its sizzling harmonica sounds, and the feel good At Last with its piano suns lighting every corner of the senses, just ignite and energise the passions, the tracks smiling with melodic skills and the unmistakable eagerness and love of their conjurers.

In pieces like Changes To Be Made and the riveting blues number Bluesprint, the band plays upon emotions, drawing on and inspiring feelings and thoughts with rich emotive caresses and whispers from the depth of the heart to leave one captivated and enthralled by every note. As with all songs they are uncomplicated and honest, offering nothing less than quality sounds and evocative weaves of charm and compulsive energies.

The biggest highlights come with the opener Southbound with its glorious bass seduction, the gentle enrapturing expressive journey of Brighton To Boston, and the southern blues stomp of Sugar Cane, its mouth organ a thrilling melodic flare. Every song though offers a delicious dish of natural pleasure, simple rock n roll to drift away in or party to.

As stated we do not know a lot about boogie woogie but we know a good time and the Otmar Binder Trio ensure that is the very least you will get from Boogie Woogie Turnaround.

The Ringmaster Review

 

Before receiving Boogie Woogie Turnaround, the name Otmar Binder was unknown to me.  Binder is an Austrian pianist who has been a fan of boogie woogie since he was a child.  This album finds him with his trio mates Alexander Lackner on bass and Michael Strasser on drums, with special guests BJ Cole on pedal steel and slide guitars, Christian Dozzler on piano and harmonica, Geri Schuller on Hammond B3 organ, Charlie Furthner on piano and Oliver Gattringer on drums adding their talents to various tracks.  All of these musicians are from Austria, except for Cole who hails from Great Britain.  The album consists of 17 selections mostly composed or co-composed by Binder.  While not as robust as some boogie woogie albums that come along, Binder has a good feel for the music in his playing and composing.  It is interesting that a group of musicians from Austria are drawn to this music, and play it with the passion and effectiveness that comes across on Boogie Woogie Turnaround.  In a time when this style of music is becoming something of a rarity, it is a welcome turn of events to find the spirit of the music alive and well in an unexpected place.  Perhaps there is hope yet for good music.  

Joe Lang, Jersey Jazz Magazine, www.njjs.org

Binder on the piano, Alexander Lackner on bass and drummer Michael Strasser make the Otmar Binder trio. Their brilliant titled debut album stems from composer Binder’s first experiences of the toe-tapping genre from his dad playing the Mojo Blues Band’s Shake That Boogie-Woogie for the first time to his love of the German boogie player Axel Zwingenberger in the early eighties.

Calling on the past experiences and putting a folky-blues twist make for a timeless instrumental album that has a Deep South feel that never quits, even though it was mostly recorded in Vienna. It also features guest appearances from BJ Cole on the pedal steel and the multi-instrumentalist Christian Dozzler.
The lovely Homerun, the warm guitar on Rising River Boogie and the soothing Changes To Be Made all show how well Otmar Binder use these bayou rhythms that have long been their inspiration and transport you away to the banks of the Mississippi.

Anastasia Aboim,  www.new-reviews.co.uk

This is genuine boogie-woogie. Never mind that almost all of it was written or co-written by contemporary pianist Otmar Binder and that neither a scratch nor a sniff of Boogie Woogie Turnaround dates back to the turn of an earlier century but is instead 100% recent. You’d hardly guess the date by the crushed velvet, gin, bayou airs, and whiskey speakeasy atmospheres everywhere in this disc. B.J. Cole sits in on a couple of cuts with his pedal steel (and, frankly, we don’t get enough of his work even in the rock world, or Skaila Kanga’s, or Ann Odell’s, or…), injecting a bit of Tejas bottom lands. Credit is given to a trio but that’s a trifle deceptive, as solos, duets, trios, quartets, and any number of personnel waft in and out of the lively affair.

Boogie’s the keynote, of course, but you also get stride, stomp, barrel house, and other influences, as those modes dovetail ever so nicely. Some cuts get folky-bluesy, balladic, reflective, even downright citified (All the Way), but the base is most often the insistent beat and recurring chords that so characterize the mode—and, if you think about, Johnny Walker Red kind of American drone music with lotsa variations. That’s why hooch-heads, brawlers, wharf rats, stumblebums, fallen bourgeoisie, and, hey!, even people like you and me dig it: it’s tarnished religion from the back of the pews where the Saturday night revelers go to sleep things off. Forget all the attempts at gentrification elswhere (esp. the movies), this is people-music and sings best when left to its own devices, as here. If you feel like testifying, go right ahead, I’ll just watch from the vestibule…where the preacher keeps the communion wine hidden.

Mark S.Tucker

Folk & Acoustic Music Exchange,

www.acousticmusic.com/

For those who are unfamiliar with the history of boogie-woogie, the following is offered to instruct: `Boogie-woogie is a style of piano-based blues that became popular in the late 1930s and early 1940s, but originated much earlier, and was extended from piano, to three pianos at once, guitar, big band, and country and western music, and even gospel. While the blues traditionally depicts a variety of emotions, boogie-woogie is mainly associated with dancing. The lyrics of one of the earliest hits, “Pinetop’s Boogie Woogie”, consist entirely of instructions to dancers:Boogie-Woogie is more than just a strange name it is an American Icon. Get ready for time travel! Otmar Binder, an Austrian piano player who served as accompanist for many singers and actors, holds on to memories of his favorite music from childhood – boogie-woogie – and here joins with BJ Cole and Christian Dozzler who form the Otmar Binder Trio. This album is completely devoted to boogie-woogie music and it not only stirs memories on another time, it also stirs the soul.

`Now, when I tell you to hold yourself, don’t you move a peg. And when I tell you to get it, I want you to Boogie Woogie!’

Boogie-Woogie is characterized by a regular bass figure, in the left hand. The bass figure is transposed according to the chord changes. The earliest documented inquiries into the geographical origin of boogie-woogie occurred in the late 1930s when oral histories from the oldest living Americans of both African and European descent, revealed a broad consensus that boogie-woogie piano was first played in Texas in the early 1870s. Additional citations place the origins of boogie-woogie in the Piney Woods of northeast Texas. “The first Negroes who played what is called boogie-woogie, or house-rent music, and attracted attention in city slums where other Negroes held jam sessions, were from Texas. And all the Old-time Texans, black or white, are agreed that boogie piano players were first heard in the lumber and turpentine camps, where nobody was at home at all. The style dates from the early 1870s.”

Now, history lesson complete, settle back and be dazzled by the artistry displayed by these phenomenal musicians. There are 17 tracks, variously penned by Binder, Cole and Dozzler and there isn’t a weak track among them. Hearing the piano played in this manner brings a new appreciation to the technical skills this music form demands. This is a classy recording with some of history’s greatest proponents of a style of music that, thanks to them, will never be forgotten. *****

Grady Harp, June 2012, amazon.com

(It was also a great a honor to get  a review in the belgium online-magazine rootstime, please see below)

Otmar Binder is Oostenrijks pianist. Zijn verhaal begon in 1978 toen zijn vader hem het debuutalbum van een nieuw groep “The Mojo Blues Band” gaf: “Shake That Boogie-Woogie”. Otmar wist toen niet dat deze LP ooit het begin zou zijn van zijn muzikale droom. Hij besefte later dat hij zelf muzikant zou willen worden en dat hij in een groep zou willen spelen. Het liefst met muzikanten die zonder repetities en zonder instructies de opnamestudio introkken. De truc, volgens hem, voor goede opnamen is dat alles moet gebeuren op basis van vertrouwen, empathie en goede oren.

 In de jaren ’30 was boogiewoogie piano een grote rage, die tot de volgende decennium duurde. De basis van boogiewoogie ligt in de blues muziek. De herkomst is echter veel vroeger te zoeken. Boogie Woogie is per definitie gerelateerd aan dansen. In “Pinetop’s Boogie Woogie” geeft hij uitsluitend instructies voor de dansers. Volgens overgedragen verhalen, werd de eerste boogie woogie piano genoemd in NO Texas rond 1870. In boogiewoogie wordt de baspartij op de piano met de linker hand gespeeld.

 1-“Southbound” is een kort inleidend solonummer van Alexander Lackner op staande bas, waarna Otmar Binder in het nummer 2-”Homerun” op piano, de intro overneemt van de drums. Otmar Binder laat in dit nummer zijn vingers van links naar rechts rollen over de pianotoetsen. Het tempo is middelmatig hoog. Het trio vervolgt met 3-”Rising River Boogie”. In dit nummer doet Brian John “BJ” Cole (Enfield, Uk, 1946) als enige niet Oostenrijker zijn opener, op ‘zijn’ pedal steel gitaar. De track krijgt een vlotte country sound, terwijl Otmar Binder op piano, vooral met de linker hand, gestadig meehopt. Oliver Gattringer drumt op 4-“Looking Foreward”. Zijn drumstijl is krachtig en ontlokt energieke reacties bij Otmar Binder en tussenkomsten van BJ Cole op steel gitaar. Een klein muzikaal vuurwerkje krijg je in 5-“At Last” als Otmar Binder moet ‘duelleren’ in deze pure piano-boogiewoogie, met zijn collega pianist Charlie Furthner. De uitslag is een gelijkspel. In 6-“Changes To Be Made” brengt de orgel van Geri Schuller een warm gospelachtig gevoel in het nummer. Hij bewijst hier opnieuw een meester te zijn in het leggen van emoties in zijn muziek. Op zich is dit een kippenvelmoment in dit album!7-“Steamin’ Away” is een uitgelaten nummer met een sissende (Sonny Terry klinkende) Christian Dozzler op mondharmonica. Wat een techniek van deze multi instrumentalist. De piano in het nummer klinkt passioneel en bluesy en houdt mooi het evenwicht in het nummer. In 8-“Bluesprint” valt het tempo stil. We krijgen een pianoduet. “Bluesprint” is een traag blues nummer vol emoties en tragiek. We vervolgen de duetten in9-“Travellin’”10-“All The Way” is een track waarin opnieuw het trio te horen is. Het nummer klinkt bekend, wat gewoon, tot Otmar Binder enkele subtiele variaties toevoegt aan de standard akkoordenreeksen. Hier getuigt hij van klasse! 11-“UPHILL3” iseen nummer met een ongewone titel. Het valt op in de reeks omdat het opgeruimd klinkt. Je ziet de mensen paraderen in de straat anno jaren ’30… De track 12-“Brighton To Boston”is ook een pareltje. Rustig, groovy en jazzy. Luister goed naar de knappe bas solo van Alexander Lackner! Dit is hedendaagse top jazz muziek. Met 13-“In Good Hands” vertrekken we in een gezellige mood. BJ Cole schuift gemeten in op steel gitaar en laat ruimte voor verdere improvisaties en shuffles. 14-“Common Ground” is een meetrapper. In 15-“Sugar Cane” doet Christian Dozzler zijn laatste (te) korte inbreng op mondharmonica. Hij blaast een robuuste solo, waarbij je de trein voorbij voelt gaan. In 16-“Venice Stomp” en 17-“Floyd’s Turn” gaan we op nieuw met het tempo omhoog. ”Venice Stomp” is een gezellige swampy stomper. “Floyd’s Turn” is een nummer opgedragen aan de invloedrijke pianist Floyd Cramer. In deze laatste nummers horen we (als je goed luistert) een violen-trio en een koortje.

 Otmar Binder bewijst met zijn album “Boogiewoogieturnaround” dat er op piano nog heel veel leven is na Jerry Lee Lewis, Little Richard en Jools Holland. Dit eerbetoon aan de meesters is er een met veel stijl, waardigheid en met veel pianotechniek. De nummers zijn bijna alle nieuw en worden gespeeld door het trio bestaande uit piano, staande bas en drums. Ondersteuning krijgt Otmar Binder van een extra piano, orgel en van een smetteloze steel gitarist “BJ” Col, die voor de extra jazzy toets zorgt. We kunnen stellen dat het resultaat in dit album de donkere opgewekte sound benadert van de jaren ‘30. We proeven kleine porties roots stomp en de piano jazz uit de barrel houses, maar die zijn zeker te smaken en bepalen mede de goede afdrink. Ondanks het gebruik van diverse opnamestudio’s blijft het geluid van het album samenhangend en van een goede kwaliteit. Wanneer er twee piano’s spelen, hoor je elke hand duidelijk spelen. We moeten Otmar Binder en zijn trio een dikke pluim op hun Oostenrijkse hoed zetten, omdat ze deze ‘minder populaire’ boogiewoogie muziek nog durven en met grote klassen durven uitbrengen, tussen al de huidige over gedigitaliseerde andere muzieksoorten. Klasse!

 Eric Schuurmans, rootstime.be

(Same can be said about the review in the croatian publication soundguardian.com)

Kada sam prvi puta saznao za rad glazbenika Otmara Bindera, osim što sam želio čuti kako to zvuči, htio sam se i malo podrobnije, detaljnije upoznati sa svime oko ovog glazbenika, ali i njegovog benda nazvanog Otmar Binder Trio s kojim nam Otmar predstavlja BJ Colea & Christian Dozzlera. Iako je ovaj album snimljen 8. svibnja prošle godine, nisam želio da ga možda zaboravim i ne predstavim u BLUES CORNERu. Izdavačka kuća Jump River Records objavila ovaj album. Dakle, na redu je moj osvrt na album Boogie Woogie Turn Around - Otmar Binder Tria feat. BJ Cole & Christian Dozzler.Činjenica je da sam za ovaj band, za ovog glazbenika i njegov album saznao slučajno, odnosno bolje napisati kada je sve to došlo na red u svemu što objavljuje …. I bilo mi je najprije čudno , ali potom i nije …jer kao i o svemu od onoga što nam je blizu i dostupno, mi saznajemo preko onih medija i Internet portala, koji su na drugom kraju Svijeta. Otmar Binder dolazi iz susjedne nam Austrije, točnije iz Beča. A njegova priča započinje kao i mnoge slične … glazbu upoznaje uz oca, počinje se u ranoj mladosti baviti njome. Osniva svoj prvi band, kojeg su nazvali Mojo Blues Band i nekako nakon 1978. godine počinje to njegovo snažnije traženje u glazbi u kojoj Otomar otkriva svoje afinitete prema različitim glazbenim stilovima. Sve to zapravo je i neka snažnija podloga priči, koja se zove ‘good-old boogie-woogie’ uskrsnuće, odnosno permanentno uživanje u prezentaciji ali i slušanju ove glazbe. To je ona glazba koju su davno izvodili Albert Ammons, Pete Johnson i Meade Lux Lewis. Ako to netko sada smatra jazzom o.k.Osobno, više volim koristiti određenje glazbenog stila kao boogie-woogie. Mogu to malo i pobliže elaborirati, naime…. boogie-woogie je posebni stil sviranja klavira afro-amerikanaca, koji je iznenada postao popularan kasnih tridesetih i ranih četrdesetih godina prošlog stoljeća. Mogli smo ga slušati u bezbroj kombinacija, od jednog do udruženih tri i više klavira. Mogli smo ga čuti u kombinacija sa gitarom i klavirom, sa usnom harmonikom i klavirom. Isto tako mogli smo ga čuti u izvođenju big bandova, tragove, ali i izvrsne kompozicije nalazimo u country i western glazbi, u ritam i bluesu pa čak i gospelu. No pravi počeci ovog glazbenog stila protežu se još dalje u prošlost i mnogi uvaženi autori spominju rano razdoblje 1870.godine i nastanak ovog glazbenog stila vežu uz područje Piney Woods of Northeast Texasa. E sad, to područje pokriva površinu od 140,900 četvornih kilometara, a koje obuhvaća područja: istočnog Teksasa, sjeverozapadne Louisiane, južno zapadnog Arkansasa i južno istočnog kuta Oklahome. Iz tog velikog područja rodio se ovaj jedinstveni glazbeni izričaj, koji se proširio ponajprije Amerikom a tek kasnije prodro je i dalje.

Moram priznati da kada sam dobio ovaj album i nakon prvih petnaestak preslušavanja, shvatio sam; ovo je bolje ne opisivati. Zašto? Iz razloga što se ovdje radi o albumu, koji bi mogao imati dosta veliko značenje općenito u glazbi o kojoj, ovdje u ovom BLUES CORNERu puno govorimo. Možda mnogima neće biti jasno zašto? Ali, ovdje je riječ o jednom snažnom i nadasve kvalitetnom testamentu ovog jedinstvenog glazbenog stila. Njega danas, samo rijetki razumiju ili žele razumjeti a zapravo samo se treba prepustiti i sve ostalo će učiniti zapravo on sam.

 

Neke od najpoznatijih boogie – woogie Chicago klavijaturista već sam istaknuo njima svakako još moram pridružiti i ‘Cripple’ Clarence Loftona a tu su još ivelikani ovog blues stila iz St. Louisa kao što su: Henry Brown i Speckled Red. U njihovom ozračju i značaju zapravo moramo promatrati i slušati ovaj album. Naime, Otmar Binder Trio feat. BJ Cole & Christian Dozzler sviraju redom 17 snimljenih kompozicija od kojih doista nemam pravo izdvajati niti jednu od prve, prekrasne minijaturne bravure Southbound pa do zadnje opuštene, groovy skladbe Floyd’s Turn albumom se samo nižu, sami dragulji i briljanti. Otomar i društvo, kao da su nekim vremenskim strojem zaustavljeni u prošlosti i potom malo po malo, dozirajući nude nam ovakve blistave glazbene trenutke.

Otomar Binder – klavir
Alexander Lackner – bas
Michael Strasser – bubnjevi
BJ Cole – gitara
Christian Dozzler – klavir & harp
Oliver Gattringer – bubnjevi
Geri Schuller- orgulje

Uz pridružene im glazbenike Patricia Simpson – vokal i pjevački aranžmani, Steffi Paschke, Bernadette Graf – vokali, Hannes Oberwalder & Otomar Binder – gudački aranžmani, Judith Reiter – viola, Julia Pichler i Alexander Gheorghiu – violina,te Andi Steirer – udaraljke; snimili su album koji će oduševiti sve one, koji

vole ovaj glazbeni izričaj. Ono što svakako zapanjuje kada se preslušava ovaj album… je činjenica kako sve to zvuči tako svježe i nadahnuto. Ovi glazbenici prezentiraju svoju glazbu u najboljem svijetlu i raskoši prezentacijske forme.

Bio bih zločest da ne istaknem sjajnu svirku Christian Dozzler – klavir u pet kompozicija, te njegovu svirku usne harmonike, kojima je obilježio pjesme: Bluesprint, Travelin’, Uphill i konačno, strašan gotovo robusni harp solo u jedinstvenoj Sugar Cane.

Ma, neka se nitko ne ljuti ali ovaj album usko gurati u jazz je možda ipak pitanje prepoznavanja materije. Osobno, nikako se ne mogu složiti niti pomiriti da netko tako površno može samo tako kategorizirati ovaj uistinu IZVRSTAN album. Nije, da ne volim, poštujem i slušam jazz…upravo suprotno i baš zato sam toliko rezigniran prema takvim paušalnim procjenama, ocjenama ili što god.

Otmar Binder Trio feat. BJ Cole & Christian Dozzler i njihov album Boogie Woogie Turn Around spada u ono što nazivamo ‘ boogie – woogie piano style’. E sad, mogli bi polemizirati, ali ako znamo o čemu se radi onda problema ne bi smjelo biti.

Ako se promatra sama kvaliteta i inspirativnost albuma, vrlo brzo, već nakon samo nekoliko kompozicija uvidjeti ćete da se ovdje zapravo nema što sporiti.

Moja informiranost i upućenost kako u samog glazbenika, tako i u cijeli band odjednom postala je izuzetno visoka. Što i nije neko čudo, jer ako nas nešto interesira učiniti ćemo sve, kako bi došli do znanja i spoznaja. Otomar Binder je od meni potpuno nepoznatog glazbenika, do sada ga nisam imao prigode čuti, nti sam znao za njega, postao umjetnik uz čije djelo (album) provodim veliku većinu svog vremena. Njegovom albumu pridajem veliku važnost i značaj, jer ukoliko poznajete ovu materiju; onda, naprosto ne možete ignorirati ovakvo glazbeno djelo.

Vjerujem da će biti i onih, koji će kazati pa od kuda sada toliko vremena i prostora za jednog ne baš previše poznatog glazbenika. Baš zato, svojom kvalitetom i ponuđenim, snimljenim materijalima Otomar Binder to 100% zaslužuje.

Svih 17 kompozicija, koje su uvrštene na ovaj album jasno otkrivaju izuzetno snažan duh prošlih vremena. To vas mora fascinirati bez obzira koliko ste stari i koliko dobro poznajete blues i srodnu mu glazbu. Ovdje se ne može izdvojiti niti jedna skladba … sve su jednako važne, značajne, kvalitetne i ono što je najvažnije; one su uvijek jednako svježe i efektne. Pored toga očevidna je činjenica da su za snimanje korišteni različiti tonski studiji, no to nimalo nije utjecalo na uravnoteženu kvalitetu snimljenog materijala. Ima i onih koji Binderu zamjeraju to kočenje samog sebe u brzim, dinamičnim skladbama. Osobno, vjerujem da je to stvar ukusa a ovaj ponuđeni materijal u svakom slučaju spada u ono nešto, što jednostavno čovjeka mora povesti na izuzetno glazbeno putovanje, gdje će susresti brojne glazbene stilove od boogie-woogiea, preko country glazbe i jazzy tema do istinskih, tradicionalno determiniranih blues kompozicija .

Sve u svemu, ako želite više od 50 minuta uživati u istinsko vrijednoj glazbi bez imalo dvojbi, potražite ovaj album i sigurno nećete pogriješiti.

PREPORUKA:
Sve što mogu napisati kod ovakvih izdanja poput: Boogie Woogie Turn Around – Otmar Binder Trio feat. BJ Cole & Christian Dozzler trebalo bi izgledati nešto poput: ‘Svi Vi , koji poznajete ovakvu vrstu glazbene forme, jednostavno nemate o čemu razmišljati već krenite i osigurajte svoj primjerak ovog albuma i svako malo, pustite da duh davnih vremena učini svoje… a na Vama je da samo uživate.’

Mladen Lončar – soundguardian.com

 

All reviews reprinted with kind permission.