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Dejan Terzic AXIOM

Jazz
  • Dejan Terzić
    Drums
  • Chris Speed
    Sax, Clarinet
  • Bojan Z.
    Piano, Fender Rhodes
  • Matt Penman
    Bass
Booking-territory: worldwide

With Prometheus CAM JAZZ makes you set off on a journey through the unlimited expressive options of drums. Your tour guide here is Dejan Terzić , a German drummer of Bosnian origin who plays in quartet with Chris Speed on sax, Bojan Zulfikarpašić on piano and Fender Rhodes and MattPenman on bass, to disclose an amazingly rich expressive realm, made of assorted moods, energy,strength, impressive depths of sound as well as hypnotic ostinatos.Dejan Terzić wrote all of the compositions on this record: his band-mates have risen to the challenge,weaving a wide-ranging, appealing plot with him. From the opening track, “Prometheus”, passing through “Red”, “Addiction and Subtraction” and “Sundance” all the way to the closing track, “NewParasomnia”, listeners will enjoy free improvisations, explosive rhythmic arrangements, dreamy interludes. Music moving from cheerful to passionate, from passionate to free, from free to structured, from structured to sweet, from sweet to outspoken, from outspoken to amusing, from amusing to inward-looking.

Underlying this project is an extremely robust jazz, made up of key contributions, meetings, all-round musical life, which results in a fresh, novel, distinctive, irresistibly dynamic jazz. A high profile band, then, for a work which in title and in execution seems to represent a daring challenge to the music gods. Terzić is most obviously promethean in that he seems to have stolen fire and harnessed it. Few contemporary drummers, even the flashiest, give such a sense of controlled burn. Every piece here seems to settle round the rhythms that he establishes, which seem to come from jazz, rock, folk forms and more abstract locations, but all fused together in a singular musical imagination.

 

biography

Dejan Terzić drums

Dejan was born in Banja Luka in what was then Yugoslavia.

His family moved to Germany when Dejan was 3 years old. He began playing piano at the age of 6, and took up drums at 12, playing art first in rock and funk groups. His induction into the world of jazz came through the back door. Listening to Sting‘s album „Bring On the Night“, he was grabbed by the playing of pianist Kenny Kirkland and saxophonist Branford Marsalis. It was at this point that his exploration of the world of jazz began in earnest. In the summer of 1991 Terzic journeyed to the Vermont Jazz Center, run by the legendary Hungarian guitarist Attilla Zoller. Attilla proved to be a major influence on Dejan, encouraging him, and clueing him in on the subtleties of group dynamics and improvisation. During the same summer Terzic became a member of New York‘s Drummer‘s Collective, where he studied with among others, Marvin Smitty Smith and Bill Stewart.

Back in Germany, Dejan began studying at the conservatory in Wurzburg where he met up with drummer Bill Elgart, one of the most original creative players on the scene. Terzic‘s comment was, „… he brought me to some really different stuff…“ The next few years were hectic ones, filled with studies and gigs. His playing began to catch the ears of both musicians and the public – and his playing began to gather in the prizes – Young Bavarian jazz Lion 94/95, Best Drummer Krakow Festival 94, Best Drummer, Leipzig Festival 95, Best Musician, International Jazz Festival Oberkochen, 95. Nuremberg Cultural Prize, 97. Jazzprice by the City of Munich in 2004.

Chris Speed sax,clarinet

Chris Speed (b. Seattle, Washington, 1967) is an American saxophonist, clarinetist, and composer. He studied classical piano from the age of five, and began clarinet at eleven. In high school he took up the tenor saxophone and began studying jazz. He later attended the New England Conservatory of Music in Boston. Speed has lived in New York City since 1992.

He leads or co-leads the groups Pachora (with Jim Black, Skúli Sverrisson, and Brad Shepik); Human Feel (with Andrew D‘Angelo, Black, and Kurt Rosenwinkel); yeah NO (with Black, Sverrisson, and Cuong Vu); and Trio Iffy (with Ben Perowsky and Jamie Saft). The latter two groups predominantly feature Speed‘s compositions.

Well-known avant-jazz groups Speed has performed with are Tim Berne‘s Bloodcount (with Berne, Jim Black, Michael Formanek, and sometimes Marc Ducret); The Claudia Quintet (with John Hollenbeck, Matt Moran, Ted Reichman and Drew Gress); Jim Black‘s Alasnoaxis (with Black, Sverrisson, and Hilmar Jensson); and The Clarinets (with Oscar Noriega and Anthony Burr). The Collaboration with Dejan Terzic began in 2003 with Dejan’s former Band Underground.They have released 4 Albums together.

www.chrisspeed.com

Bojan Zulfikarpasic piano, fender rhodes

He started playing piano at the age of 5. As a teenager, he started playing in bands on Belgrade jazz scene, where he received an award as the Best Young Jazz Musician of Yugoslavia award in 1989. In 1986 studied with Clare Fischer at the Blue Lake Fine Arts Camp in Michigan. He was influenced by the traditional Balkan music playing in an army orchestra during his military service in former Yugoslavia, which would influence all his subsequent work. He moved to Paris in 1988, playing with Noël Akchoté, Julien Lourau, Magic Malik, Marc Buronfosse, Henri Texier and other renowned French musicians.

In 1993, he recorded the debut album with his Bojan Z Quartet with Label Bleu, followed by Yopla!. In 1999, he was engaged in multi-ethnical project Koreni (Roots) with musicians such as Karim Ziad from Algeria, Kudsi Erguner from Turkey, and Vlatko Stefanovski from Macedonia.

His solo piano album Solobsession (2001) brought him wider worldwide recognition. On Transpacifik (2003) he started collaborating with American jazz musicians Scott Colley and Nasheet Waits, and continued on Xenophonia (2006) with Ben Perowsky and Ari Hoenig, as well as Frenchman Remi Vignolo.

He often uses the combination of acoustic piano with Fender Rhodes electric piano, often playing them simultaneously, and recently is claimed to be the inventor of „Xenophone“, a hybrid instrument, based on the customized Fender Rhodes electric piano. It can be heard on Xenophonia.

In 2002 Bojan Zulfikarpašić was granted the title of Chevalier de l‘ordre des Arts et des Lettres by the French government and received the Prix Django Reinhardt for Musician of the Year from the French Académie du Jazz, and in 2005 he was granted the European Jazz Prize as the Best European Jazz Musician. www.bojanz.com

Matt Penman bass

Originally from New Zealand, Matt Penman moved to the U.S in 1994 to attend Berklee College of Music, and in 1995 to New York, where he maintains an international performing, recording and teaching schedule as one of jazz music’s most in-demand bassists.

He is an established member of the SFJazz Collective, an 8-piece composer’s collective devoted to presenting the original works of its members as well as arrangements of the jazz greats‘ oeuvre. The Collective features some of the finest composer/improvisers on the scene, including Mark Turner, Stefon Harris and Miguel Zenon. In 2009, Matt founded a collaborative quartet with Joshua Redman, Aaron Parks and Eric Harland called James Farm. The band released their debut album in 2011 on Nonesuch Records.

In addition to his main projects, Matt performs regularly with John Scofield; in trio and in quartet with Joe Lovano. He is a member of Nils Wogram’s Root 70, and Breve, a drummer-less trio with Hayden Chisholm and John Taylor.  Other collaborators have included Kurt Rosenwinkel, Kenny Werner, Dave Douglas, Chris Cheek, Seamus Blake, Wolfgang Muthspiel, Guillermo Klein, Rebecca Martin, Nicholas Payton, Fred Hersch and Madeleine Peyroux.

As a teacher, Matt has led workshops throughout Europe, and was an Artist- in- Residence at the Brubeck Institute in Stockton, California in 2007. He was also on the faculty of the 2009 Banff Workshop for Creative and Improvised Music.

Matt‘s projects as band-leader include the co-led album ‘Flipside’ (Naxos, 1998), ‘The Unquiet’ (2001) and ‘Catch of the Day’ (2008), both on the Barcelona label Fresh Sound. He is featured on well over 100 recordings on various labels.

www.mattpenman.com

review

“Abstract, accessible, intelligent” Rolling Stone

” The four musicians (…) create a shared magic that you rarely get to hear”Jazzthing

Born in Banja Luka, grew up in Nuremberg, a professor in Bern – the cosmopolitan Dejan Terzić is one of Europe‘s most renowned drummers and bandleaders. His new album is a brilliant milestone in his biography.“ Jazzthetik

Rhythmic virtuosity, fast tempos, minimalist, repetitive patterns, free floating parts. PROMETHEUS impresses with its expressive composition, bite and precision. Chris Speed, Bojan Z, Matt Penman and Dejan Terzic work together inseparable.” Jazzthing

press

“Prometheus” CAM JAZZ

Chris Speed sax (USA), Bojan Z pno (F), Matt Penman bs (USA), Dejan Terzić dr (D)

With Prometheus CAM JAZZ makes you set off on a journey through the unlimited expressive options of drums. Your tour guide here is Dejan Terzić , a German drummer of Bosnian origin who plays in quartet with Chris Speed on sax, Bojan Zulfikarpašić on piano and Fender Rhodes and MattPenman on bass, to disclose an amazingly rich expressive realm, made of assorted moods, energy,strength, impressive depths of sound as well as hypnotic ostinatos.Dejan Terzić wrote all of the compositions on this record: his band-mates have risen to the challenge,weaving a wide-ranging, appealing plot with him. From the opening track, “Prometheus”, passing through “Red”, “Addiction and Subtraction” and “Sundance” all the way to the closing track, “NewParasomnia”, listeners will enjoy free improvisations, explosive rhythmic arrangements, dreamy interludes. Music moving from cheerful to passionate, from passionate to free, from free to structured, from structured to sweet, from sweet to outspoken, from outspoken to amusing, from amusing to inward-looking.

Underlying this project is an extremely robust jazz, made up of key contributions, meetings, all-round musical life, which results in a fresh, novel, distinctive, irresistibly dynamic jazz.

A high profile band, then, for a work which in title and in execution seems to represent a daring challenge to the music gods. Terzić is most obviously promethean in that he seems to have stolen fire and harnessed it. Few contemporary drummers, even the flashiest, give such a sense of controlled burn. Every piece here seems to settle round the rhythms that he establishes, which seem to come from jazz, rock, folk forms and more abstract locations, but all fused together in a singular musical imagination.

 

technical rider

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