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[Above:  Excerpt from Claus Ogerman's "Symbiosis", in his own manuscript]



Claus Ogerman's Influence On Other Arrangers & Composers

Claus Ogerman and his unique writing and arranging style has had an influence on countless other arrangers and composers.  This part of the site will attempt to document his influence on those musicians.

Regarding Jorge Calandrelli and Vohn Regensburger:

Claus Ogerman has been known to have had a definitive influence on arrangers Jorge Calandrelli and arranger/composer Vohn Regensburger.  Where Vohn Regensberger is concerned, Vohn has directly communicated to this webmaster in email that he consciously considers Ogerman's style when doing his own string arrangements.  Jorge Calandrelli's "Symphonic Bossa Nova" album contains string arrangements which remind one of Ogerman's style in arranging for strings.


From the CD liner notes to Fred Stride Orchestra, "Showboat and Other Jerome Kern Classics" Musica Viva #MVCD 1099 (1996):

"Fred Stride has taken Kern's songs and put them into an orchestral setting, creating his own style by incorporating elements of classical and contemporary music as well as jazz. He credits some diverse influences in his arranging, including those of Ravel, Bartok, Prokofiev, Duke Ellington, jazz arranger Claus Ogerman, and film composer John Williams."


From Brazilian-style guitarist/composer/arranger Jarkko Toivonen of Finland:

"Claus Ogerman is my favourite arranger, you can always recognize his ''sound'', it's full and warm but never overproduced."

Jarkko's compilation album "Growth" contains the following dedication:

"This album is also a tribute to such composers and performers, who have had a great influence on my whole musical career. With this album I would like to salute such masters as Luiz Bonfa, A.C. Jobim, Paulinho Nogueira, Joao Gilberto, Baden Powell, Jose Feliciano, Oscar Castro-Neves, Sergio Mendes, Walter Wanderley, Helcio Milito, Joao Donato, Claus Ogerman, Lani Hall, Silvia Telles, Bola Sete, Charlie Byrd, Jorge Morel, Sivuca and Toninho Horta".


Where pianist/composer Bill Evans was concerned:

This excerpt taken from http://billevanswebpages.com/morellintview.htm where it can be read in its entirety:

"According to Pettinger's bio, shortly little after this, the trio went to Europe and did a recording with the MetropoleSymphony Orchestra performing, among other things, some of Claus Ogerman's charts from the 1965 album he did with Bill. This must have been heady stuff, too. What was that experience like?"

Marty Morell (Evans' drummer): "Yes, I remember that. It was really great to be able to play those charts. I basically knew them because I had listened to that album a ton. That gig was in Hillversom, which is a little town outside of Amsterdam. It was for a radio show. We never performed those charts in a live concert situation."

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In Bill Evans' own words regarding the album "Symbiosis":

This excerpt taken from http://www.jazzprofessional.com/interviews/Bill%20Evans_6.htm where it can be read in its entirety:

The album with Claus Ogerman was also different for you, wasn't it? Certainly, the second side, I would say, was more in the nature of almost a classical piano concerto type of thing. Would you agree?

That's right. Actually, the whole piece is well integrated, and it was quite challenging&emdash; especially one or two of the improvised sections. And I love to listen to it; I think it's a piece that says something, emotionally and musically, and it says it in a listenable way. It's a really outstanding effort on Claus's part. I'm really happy that we were able to do it. Fortunately, MPS believed in the project, and were willing to produce it. Which not every company will do&emdash; when you consider the size of it. Yes, it was a big undertaking&emdash; just the budget of it&emdash; because it's not a pop record, it's not even a purely blowing jazz record. So there's no guarantee about how it's gonna sell. But I really feel that a record like this, if they keep it in the library and keep it on the market, will sell through the years.

Actually, when we go to Japan and do concerts, they're selling albums in the lobbies of the concert halls dating back to my very first trio album on Riverside&emdash; not even stereo. And they're freshly pressed, with freshly printed covers. They keep them alive, and they do keep selling, because people who are interested in an artist&emdash; in jazz, at least&emdash; don't necessarily have to have the thing that's hottest off the presses, or out of the studio. I think it's a nice idea, if they would do that. Unfortunately, a lot of the bigger companies drop things very quickly from their catalogues&emdash; United Artists, Verve, and companies like that.

 

This new collaboration with Claus was, I suppose, a direct result of your earlier Verve album with him?

Right&emdash; just because of the respect we have for one another. Actually, Claus was responsible, I think; for presenting and selling the idea to MPS. Yeah, a nice thing.


Where session player and arranger Rob Mounsey is concerned:

This excerpt taken from http://www.writingaffairs.com/mizar5/rm.html where it can be read in its entirety:

Mizar 5: As an arranger you also personalize a song for the artist, musician or vocalist. Do you arrange during sessions with others or do you work alone or both? And what other arrangers do you feel make a difference in the world, especially when it comes to the standards (American Songbook), because those songs have been performed for quite some decades now. If and when you have to arrange a 'classic' song, where do you start for instance?

Rob Mounsey: I came from a composing and arranging culture where I sit alone at a drafting table with a pencil in my hand. I generally begin there. With pop records, arranging for the rhythm section presents special challenges, as one wants to leave space for special musicians to contribute their special stuff, so some rhythm section arrangements are left quite loose, and designed on the spot in the studio to some extent. Obviously one can't do this with an orchestra, where all the nuances tend to be clearly notated in advance. There are not that many of us real 'arrangers' left. I think of some of my favorite colleagues and friends in New York, Gil Goldstein and Rob Mathes and Carlos Franzetti, and a few others, Jeremy Lubbock, Vince Mendoza, Alan Broadbent and a great favorite of mine, Jorge Calandrelli. Klaus Ogerman and Johnny Mandel are some of the greats of a slightly older generation. From the old days, my great heroes would include Gil Evans, Nelson Riddle, Henry Mancini, Neal Hefti, Don Costa, Billy May, Gordon Jenkins, etc. The immortal Duke remains in his own exalted category.


 

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