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RIO/Avant-Prog • Austria

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Hermann Szobel biography
An Austrian pianist / composer Hermann SZOBEL, born in 1958 and given lessons in classical piano in Vienna, has appeared on the stage as a jazz pianist apparently influenced by Martial Solal, Keith Jarrett, or so. Simultaneously he came to acquire methods of complex composing, and his intriguing knowledge of production, in collaboration with Michael VISCEGLIA (bass), Bob GOLDMAN (drums), Dave SAMUELS (percussion, marimba, vibraphone), and Vadim VYADRO (tenor saxophone, clarinet, flute), has crystallized to create only one album "Szobel", that was released in 1976 via Arista Records (and reissued as a CD via The Laser's Edge Records in 2012).

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Audio CD$13.79
$5.79 (used)
szobel LPszobel LP
$14.98 (used)
Marquee Inc. Japan 2012
Audio CD$86.01 (used)
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HERMANN SZOBEL discography

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4.08 | 6 ratings

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Showing last 10 reviews only
 Szobel by SZOBEL, HERMANN album cover Studio Album, 1976
4.08 | 6 ratings

Hermann Szobel RIO/Avant-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars Hermann would be an explosive multi-dimensional therapist based upon avantgarde-jazz approaches.

Zappaish complicated hustle bustle avenue and cool piano sound palace ... they all musical collaborators might be a perfect quintet methinks. One of their remarkable sound points is they would play their style intensively along with leanings toward free-form jazz (the fourth track "Transcendental Floss" a bit reminds me of Yosuke Yamash'ta Trio), and this point itself might mist or blur impression of originality, their instrumental technique should be awesome though.

Very positive phase is kaleidoscopic appearance of the third (and the shortest in this album) track "Between 7 And 11" filled with improvised piano play-based sound landscape crystallized via all of instruments. On the other hand, the second shot "The Szuite" sounds flooded with Zeuhl-ish quirkiness, inspired sound chasing, and therapeutic surrealism, especially in the beginning or the middle. As if their cogwheels could perfectly engage with each other, there is no awkwardness nor irritation but another massive weird sense of unity.

This moment to enjoy this production notifies us of a pity this be his only one (official) release. No novelty nor innovative brilliance can be heard indeed but we can get freak out by their incredible atmospheric development with superb play and technique. Why can we ignore such an excellent obscurity?

Thanks to DamoXt7942 for the artist addition.

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