Saturday 7 September 2019, 7.30pm
For the final night of our Peter Brötzmann Festival we're delighted to host a very special sextet featuring Peter alongside Matana Roberts (saxophone) for the very first time; as well as Pat Thomas (piano), Takeo Moriyama (drums), Masahiko Satoh (piano) and John Edwards (bass). Peter has an array of rightly-celebrated duos and trios in his back catalogue but larger ensembles have been every bit as important to his musical development over the past five decades, from 1968's Machine Gun LP alongside Evan Parker, Peter Kowald, Fred Van Hove and more, right up to his Chicago Tentet.
This one-off performance sees Peter's trio with Eric Revis and Nasheet Waits from day three of the Festival augmented by the brilliant saxophonist Matana Roberts and Pat Thomas, with whom Peter performed at his very first shows at OTO.
OTO Projects gratefully acknowledges the support of:
Masahiko Satoh (佐藤 允彦 Satō Masahiko, born 6 October 1941) is a Japanese jazz pianist, composer and arranger.
At the age of 26, Satoh moved to the United States to study at the Berklee College of Music. He stayed for two years, during which he read about composing and arranging. He earned money working in a food shop and playing the piano in a hotel. In 1968 he wrote the music for, and conducted, a series of pieces that were combined with dance and performed in New York. After returning to Japan, he recorded Palladium, his first album as leader, and appeared on a Helen Merrill album.
In his early career in the late 1960s and early 1970s, Satoh played in a free, percussive style. Satoh played at the 1971 Berlin Jazz Festival as part of a trio; he used a then-unusual ring modulator to alter the sound. Also in the early 1970s, he recorded with Attila Zoller, Karl Berger, and Albert Mangelsdorff. He wrote the psychedelic music for the 1973 anime film Belladonna of Sadness...[more]
Takeo Moriyama (森山 威男 Moriyama Takeo, born January 27, 1945 in Katsunuma (present Kōshū) in Yamanashi Prefecture) is a Japanese jazz drummer.
Moriyama played piano as a child before switching to drums in his late teens. He then attended the Tokyo University of the Arts, taking a degree in percussion performance. He joined Yosuke Yamashita's small group in 1967, and went on several international tours with the group until leaving it in 1975. He moved to Nagoya in 1977 and began leading his own groups. In addition to Yamashita he has performed or recorded with Aki Takase, Akira Miyazawa, Fumio Itabashi, Masahiko Satoh, Peter Brötzmann, Nobuyoshi Ino, Takehiro Honda, and Manfred Schoof.
Peter Brötzmann is one of the most important and uncompromising figures in free jazz and has been at the forefront of developing a unique, European take on free improvisation since the 1960s.
Brötzmann first trained as a painter and was associated with Fluxus (Participating in various events and working as an assistant to Nam Jun Paik) before dissatisfaction with the art world moved his focus towards music. However he continued to paint and his instantly recognisable visual sensibility has produced some of our favourite LP sleeves as well as a number of gallery shows in recent years.
Self-taught on Clarinet and Saxophone, Brötzmann established himself as one of the most powerful and original players around, releasing a number of now highly sought after sides of musical invention including the epochal 'Machine Gun' session in 1968 - originally released on his own Brö private press and later recordings for FMP (Free Music Production) the label he started with Jost Gebers. Brötzmann's sound is "one of the most distinctive, life-affirming and joyous in all music" and he has performed with almost all of the major players of free music from early associations with Don Cherry and Steve Lacy to regular groupings with Peter Kowald, Alex Von Slippenbach, Han Bennink and Fred Van Hove, the Chicago Tentet (Mats Gustafsson/Joe McPhee/Ken Vandermark and more) and various one-off and ad hoc associations with many others including Keiji Haino, Derek Bailey, Evan Parker, Anthony Braxton and Rashied Ali.
Pat Thomas studied classical piano from aged 8 and started playing Jazz from the age of 16. He has since gone on to develop an utterly unique style - embracing improvisation, jazz and new music. He has played with Derek Bailey in Company Week (1990/91) and in the trio AND (with Noble) – with Tony Oxley’s Quartet and Celebration Orchestra and in Duo with Lol Coxhill.
"Sartorially shabby as Thomas may be, and on first impression even rather stolid, he has a somewhat imperious charisma that’s immediately amplified when he starts to play. Unlike other pianists whose virtuosity seems to be racing ahead of their thought processes Thomas always seems supremely in command of his gift, and his playing, no matter how free and ready to tangle with abstraction, always carries a charge of authoritative exactitude." - The Jazzmann
Matana Roberts is an internationally renowned composer, band leader, saxophonist, sound experimentalist and mixed-media practitioner. Roberts works in many contexts and mediums, including improvisation, dance, poetry, and theater. She made two records as a core member of the Sticks And Stones quartet in the early 2000s and has gone on to release a diverse body of solo and ensemble work under her own name on Constellation and Central Control over the past decade. She is perhaps best known for her acclaimed Coin Coin project, a multi-chapter work of “panoramic sound quilting” that aims to expose the mystical roots and channel the intuitive spirit-raising traditions of American creative expression while maintaining a deep and substantive engagement with narrativity, history, community and political expression within improvisatory musical structures. Constellation began documenting the Coin Coin project in 2011 and has released the first three of a projected twelve album-length chapters to date.
The third chapter of Coin Coin, entitled river run thee and released on Constellation on February 2014, finds Roberts constructing a sound art tapestry from field recordings, loop and effects pedals, and spoken word recitations, alongside her saxophone and singing voices. Coin Coin Chapter Three: river run thee could arguably be considered first and foremost a vocal work, and notwithstanding its experimental and esoteric structure, a deeply narrative work as well. Not unlike 2013’s Coin Coin Chapter Two: Mississippi Moonchile, the new chapter unfolds as an uninterrupted album-length flow, this time in what Roberts calls “a fever dream” of sonic material, woven in surrealist fashion.
A self-taught mixed media composer, the Chicago-raised and New York City-based Roberts earned two degrees in performance from a smattering of American institutions but received her main training from free arts programs in the American Public School System. She is a past member of the Black Rock Coalition (BRC) and the The Association for the Advancement of Creative Musicians (AACM). She has been a Van Lier Fellow, a Brecht Forum Fellow, a Copeland Fellow, a Jazz Makes Fellow, an ICASP fellow, a 2013 FCA fellow and a seven-time Alpert Award In The Arts nominee, receiving the award in 2014. She has been invited to teach, lecture, run workshops and/or take up artistic residencies in countless places under diverse conditions and with diverse communities over the past decade and is a past faculty member of the Banff Creative Music Workshop, School for Improvised Music, and Bard College MFA, where she was co-chair of the Music and Sound Department 2011-12. Roberts won the Doris Duke Impact Award in 2014.