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• Franz Koglmann: Franz Koglmann was born in Vienna, Austria, in He studied classical music, then Jazz and lived in New York and Philadelphia for study trips. Koglmann is internationally acclaimed as an important reviver of crossover music bordering between jazz and European modern music.

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• Franz Koglmann, Category: Artist, Albums: Annette, Let's Make Love, L'heure Bleue, Don't Play, Just Be, We Thought About Duke, Top Tracks: Lament for Javanette, Ko-Ko, Zweet Zurzday, The Mooche, Pyramid, Biography: Most of the recordings of award-winning modern composer, trumpeter, and flügelhorn player Franz Koglmann (and of his works) can be found on the Hat labels (Hat Art, Hat .

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• Franz Koglmann / Lee Konitz We Thought About Duke hatOLOGY A provocative and revealing exploration of some of Duke Ellington's lesser-known numbers, including "Lament for Javanette" and "Love Is In My Heart," plus several gems from Ellington associates, such as Juan Tizol's "Pyramid," Billy Strayhorn's "Dirge," and more.

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• Find album reviews, stream songs, credits and award information for We Thought About Duke - Franz Koglmann on AllMusic - - Duke Ellington tributes, much like Cole Porter, 8/

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• Franz Koglmann (born ) is an Austrian jazz akikuscofymdagdathis.xyzinfo performs on both the trumpet and flugelhorn in a variety of contexts, most often within avant-garde jazz and third stream contexts. An award-winning composer, Koglmann has performed or recorded with a variety of musicians, including Lee Konitz, Paul Bley, Bill Dixon, Georg Gräwe, Andrea Centazzo, Theo Jörgensmann, Wolfgang .

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• Franz Koglmann ~ The Use Of Memory ~ Hat Hut Records 1. Chateau De Bouges 2. For Max 3. The Use Of Memory: Bix, Miles And Chet 4. Das Ratsel Eines Tages 5. Der Vogel 6. Uccello 7. Monoblue 8. Die Kuhle, Der Duft, Der Glanz 9. Constantin's Dream Franz Koglmann Pipetet: Mario Arcari: oboe.

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• Andy Hamilton and Lee Konitz have put together an extraordinary retrospective with interviews and commentary on the life of one of jazz music’s most beloved and individual voices. Lee Konitz has contributed to the development of this music’s life cycles from his emergence onto the scene in the s to the explorations of today.

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• Konitz: [singing] Happy W’alentines, Happy W’alentines. KirchnerTwo thousand eleven, and we’re in Lee Konitz’s apartment in Manhattan, and I’m Bill Kirchner, and we’re about to begin the oral history with Lee. Konitz: Welcome. Kirchner: Let’s start with the most obvious possible thing. Konitz: I .

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