Biography
Most recordings by the prize-winning contemporary composer, trumpeter, and flügelhornist Franz Koglmann, together with realizations of his compositions, appeared on the various Hat imprints, though that pattern shifted after he established his own Frankfurt-based imprint, Between the Lines, in 1999.
Koglmann entered the world in 1947 in a town close to Vienna; after mastering trumpet and flügelhorn he launched Pipe Records in 1973, a venture that soon issued several discs by Steve Lacy and Bill Dixon. He captured the Music Award of the City of Vienna in both 1972 and 1976, the same year Pipe brought out his album Opium/For Franz. Between the middle of the 1970s and the middle of the 1980s he belonged to the Improvising Music Orchestra while also appearing with the Reform Art Unit through the later 1970s and, for roughly two seasons early in the 1980s, with pianist Georg Graewe’s Grubenklangorchester.
In 1983 he assembled the Chamber Jazz Ensemble Pipetet; its first recording, Schlaf Schlemmer, Schlaf Magritte, reached the public on Hat Art the next year, after which Koglmann turned his primary energies toward composition. The Republic of Austria conferred its Music Award upon him in 1987, followed two years later by a state grant; 1990 then marked the initial public presentation of his pieces in Vienna. Wire magazine singled him out the following year, and in 1992 he received the Music Award of Lower Austria. Additional Hat titles, among them The Use of Memory on Hat Art, appeared during this span, while his Diapasson on the French label Disque d’Or was named Record of the Year by the London Times in the early 1990s.
Melange de la Promenade and the substantial Hat Art collection Cantos I-IV both surfaced in 1993. Works of his figured in the 1994 Wien Modern programs in Cologne, at leading Canadian festivals, and at the Knitting Factory in New York City in 1995, the same year a second state grant was awarded. Commissioned by the 1997 Vienna Festival, he wrote “Ein Heller, Lichter, Schöner Tag,” and that year also saw the issue of O Moon My Pin-Up, which earned the Composers’ Award from the Erste Österreichischen Sparcasse.
Klangforum Wien gave the premiere of “Don’t Play, Just Be” in 1998; twelve months later Koglmann cut the inaugural release for Between the Lines, Make Believe, on which he played trumpet and flügelhorn alongside reedist Tony Coe, guitarist Brad Shepik, and additional musicians, presenting mostly original material except for the Jerome Kern title track. Over time he collaborated in performance and on record with such noted improvisers as guitarist Derek Bailey, saxophonist Lee Konitz (documented on the 1995 Hat Hut album We Thought About Duke), and pianist Paul Bley. As of 2000 he continued to make his home in Vienna.
Koglmann entered the world in 1947 in a town close to Vienna; after mastering trumpet and flügelhorn he launched Pipe Records in 1973, a venture that soon issued several discs by Steve Lacy and Bill Dixon. He captured the Music Award of the City of Vienna in both 1972 and 1976, the same year Pipe brought out his album Opium/For Franz. Between the middle of the 1970s and the middle of the 1980s he belonged to the Improvising Music Orchestra while also appearing with the Reform Art Unit through the later 1970s and, for roughly two seasons early in the 1980s, with pianist Georg Graewe’s Grubenklangorchester.
In 1983 he assembled the Chamber Jazz Ensemble Pipetet; its first recording, Schlaf Schlemmer, Schlaf Magritte, reached the public on Hat Art the next year, after which Koglmann turned his primary energies toward composition. The Republic of Austria conferred its Music Award upon him in 1987, followed two years later by a state grant; 1990 then marked the initial public presentation of his pieces in Vienna. Wire magazine singled him out the following year, and in 1992 he received the Music Award of Lower Austria. Additional Hat titles, among them The Use of Memory on Hat Art, appeared during this span, while his Diapasson on the French label Disque d’Or was named Record of the Year by the London Times in the early 1990s.
Melange de la Promenade and the substantial Hat Art collection Cantos I-IV both surfaced in 1993. Works of his figured in the 1994 Wien Modern programs in Cologne, at leading Canadian festivals, and at the Knitting Factory in New York City in 1995, the same year a second state grant was awarded. Commissioned by the 1997 Vienna Festival, he wrote “Ein Heller, Lichter, Schöner Tag,” and that year also saw the issue of O Moon My Pin-Up, which earned the Composers’ Award from the Erste Österreichischen Sparcasse.
Klangforum Wien gave the premiere of “Don’t Play, Just Be” in 1998; twelve months later Koglmann cut the inaugural release for Between the Lines, Make Believe, on which he played trumpet and flügelhorn alongside reedist Tony Coe, guitarist Brad Shepik, and additional musicians, presenting mostly original material except for the Jerome Kern title track. Over time he collaborated in performance and on record with such noted improvisers as guitarist Derek Bailey, saxophonist Lee Konitz (documented on the 1995 Hat Hut album We Thought About Duke), and pianist Paul Bley. As of 2000 he continued to make his home in Vienna.
Albums
