Concert critic Porgy & Bess Feb 2024 by Samir H. Köck

Now Ame­ri­ca is at the feet of our jazz star

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Pure ecsta­sy: Saxo­pho­nist Muri­el Gross­mann pre­sen­ted her new album “Devo­ti­on” at Por­gy & Bess. BY SAMIR H. KÖCK
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                   Sin­ce Joe Zawin­ul, no one in the Aus­tri­an jazz sce­ne has achie­ved such an inter­na­tio­nal impact as this. But was she ever part of it? The only thing that is cer­tain is that Muri­el Gross­mann brief­ly worked as a wai­tress at Por­gy & Bess. She has been living in Ibi­za sin­ce 2004 and has deve­lo­ped her inten­si­ve impro­vi­sa­tio­nal art on the tenor saxo­pho­ne the­re, which has beco­me incre­a­singly popu­lar. Now US rock star Jack White (White Stri­pes) has taken the plun­ge and released Grossmann’s famous new album “Devo­ti­on” on his Third Man label. A US tour in the fall is being pre­pa­red, thus igni­t­ing a fur­ther sta­ge in her care­er . It was hot right from the start in the packed Por­gy, also becau­se Gross­mann acted extre­me­ly hea­ted­ly. The mise en place was alrea­dy impres­si­ve: alto, sopra­no and tenor saxo­pho­nes were wai­t­ing in hol­ders, shell and snail shell neck­la­ces around the micro­pho­ne. The The set­list res­ted on the organ, which new­co­mer Abel Boque­ra hand­led with con­fi­dence. Rado­mir Milo­j­ko­vic sho­ne on the gui­tar, Uros Sta­men­ko­vic worked on the drums. With “Abso­lu­te Truth”, a groo­ve mara­thon, things got into full swing. The rough sound was remi­nis­cent of the late six­ties, when soul jazz first came to the fore. It was ama­zing what ener­gy and endu­ran­ce this deli­ca­te per­son had. When her col­leagues solo­ed , she dan­ced, rust­led with shells or hit the minia­tu­re chi­mes. For the second set she brought Gina Schwarz onto the sta­ge, a “sis­ter in crime” and “mur­de­rer on the bass,” as Gross­mann right­ly said. And becau­se the hour does­n’t strike for the lucky ones, it ended up being almost three. Pure ecstasy!

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