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Liner notes from "Sunny"

THE HISTORY OF JAZZ can be characterized as a non-violent battle for survival between the various instruments. In this art form the appearance of a immutable line-up of instruments that has outlasted the vagaries of time is illusory. Everthing is specific to given periods of jazz history, everything is in transition. What today has an aura of eternity may tomorrow be relegated to the sidelines. The tube, once responible for the bass notes, has been ousted by the double bass. The cornet has almost completely disappeared. And what of the clarinet? After the swing era it had to cede its place in the limelight. The saxophone, trumpet, and piano have retained their dominance, while bass and percussion are still associated with the musical background - but who knows where they will be a few decades from now. Since the 'sixties exotic instruments has infiltrated the genre, and the ethnic movement has attracted attention to cultures remote from the urban world of jazz. Today we can look back to Alice Coltrane on the harp and Guy Klucevsek on the accordeon. Cognoscenti are also familiar with Rufus Harley, who squeezed the Scottish bagpipes, and Steve Turre, who uses sea shells to express his musical thinking. Meanwhile, classical instruments like the French horn, oboe or bassoon have found acceptance in the jazz family.

Christian Gruber Ruesz, too, immerses us in a world of instrumental by-ways. True, the broad stylistic thrust of his music is familiar - latin, funk, bebop, modal jazz, blues, and gypsy swing. Yet, Gruber Ruesz sounds different. His perspective reaches far beyond these styles, is open to a variety of folk elements, and thus gives a personal slant to the jazz quartet. The portuguese mandolin, the greek bouzouki, and the gypsy guitar alternate to produce unusual listening that sometimes recalls Vienna. Indeed, a contra-guitar also makes a guest appearance on two tracks. Gruber Ruesz see Vienna as a cultural and stylistic melting pot that symbolizes his aesthetic eclecticism. Incidentally, what you are hearing is a live recording and not the result of studio tinkering. Recorded at Vienna'a Aera cafe, the music takes its life from its air of spontaneity. Applause is audible, but only on two occasions. Gruber Ruesz set out to create a wide musical span of the type found in a symphony. In formal terms, Sunny reminds me of a suite, but that will probably be all the same to listeners once they have been captivated by stylistic range of this production. Which is all to the good.

The world turned upside down! Portuguese mandolin meets modal jazz, blues meets bouzouki... In sunny, Christian Gruber Ruesz creates a pot pourri that the listener is happy to take as it comes.

        -- Ljubisa Tosic

Personnel:
Christian Gruber Ruesz (mandoline, gypsy-guitar, bouzouki)
Roland Guggenbichler (piano, keyboards)
Karl Sayer (contrabass)
Oliver Krammer (drums)
Guest: Peter Havlicek (contra-guitar)

Tracks:
1.  Suspekt
2.  Fading Out The Memories
3.  Black Napkins
4.  Black Orchidee
5.  Na Sowas Blues
6.  K.O. Funk
7.  Sequenzes
8.  Lulu Valse
9.  I Want To Hold Your Hand
10.  Harry Lime Theme
11.  Naima
12.  Nuages
13.  Improvisation Nr.1

Contact:
Christian Gruber Ruesz
Malfattigasse 21/23, A-1120 Wien
Tel./Fax. ++43/1/817 56 60
gruber-ruesz@magnet.at