Herwig Gradischnig (tenor saxophone), Ingrid Jensen (trumpet), Oliver Kent (piano), Hans Strasser (bass), Christian Salfellner (drums).
All compostions by Oliver Kent except 1. by Burton Lane and 4. by George Gershwin both arranged by Ingrid Jensen.
Tracklisting:
1. I Hear Music (11:44)
2. Easy Come Easy Go (10:18)
3. Five Moons Around Venus (9:35)
4. But Not For Me (6:32)
5. Silver Surfer (8:38)
6. Late Farewell (Dedicated To Bernd Flemming) (7:18)
7. Jolly Joker (7:15)
8. Captain Cook (Dedicated To Ray Charles) (5:42)
Aufgenommen im April 1994 in Wien.

How about Jazz now?
Who decides what is performed and who has a clear view of who can, or cannot, perform Jazz anyway.
Wynton Marsalis condemns almost all modernity and Keith Jarrett thinks any American High School has musicians as good as Marsalis, who is merely an overpromoted product of the record companies. The way Marsalis plays traditional jazz is only a bit worse than the jazz played by traditional jazz musicians in the past. If we even believe Jarrett to a certain extent, than we can be sure that there are also plenty of good musicians in Europe whose performances are worthy of the heritage of jazz if that is possible today at all…
Mind you, not all “straight” musicians can enjoy the privilege of performing their music at the level of FIVE MOONS AROUND VENUS. Among the chosen few we can count e.g. the Italian pianist Dado Moroni and the Swiss tenorist Roman Schwaller.
Authenticity that is being shifted in time and presented at its best is fun indeed and the question of originality doesn’t even arise. It is, however, of interest to the author of these lines how the same musicians would manage with experimental forms.
If you consider that the pianist and songwriter Oliver Kent and the tenorist Herwig Gradischnig have only just turned 25, then you would be astounded at their maturity and technical excellence. In the same way this is true of the perfection with which the Canadian trumpeter Ingrid Jensen, who now lives in New York City, breaks down all prevalent prejudices existing in the field of jazz.
The quit charm of the rhythmic bourgeoisie (that is not meant in a derogatory way but as a symbol for a complete world view) is provided by the bassist Hans Strasser and the drummer Christian Salfellner. The latter two are established artists in the Viennese jazz scene who no longer need to prove the diversity of their skills.
This is living tradition, without trying to be too conspicuous, uncramped and modern in style.
Mathias Rüegg, January 1995.