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Jazz / Free Jazz
Indie / Rock
Ex tape label Trost now publishes free jazz contemporary classics on LP.
"Found in the archives of FMP!
The very first – never released – recordings of the Schlippenbach Trio."
"Pianist Alexander von Schlippenbach along with Evan Parker on tenor and soprano saxophone and Paul Lovens on drums are one of the longest lasting and most well respected groups in free jazz improvisation. Apparently it all began here on April 2, 1972 during the Workshop Freie Musik at the Acadamy of the Arts, Berlin. It hardly sounds like a first recording, because they come out of the gate with almost telepathic unity on "Deals" which is a continuous collective improvisation lasting over thirty eight minutes. The musicians show an amazing degree of stamina considering that the music is played with a very exciting degree of high energy. While each of these musicians were well on their way to developing their own unique original sounds, Schlippenbach displays a fascinating degree of classical technique filtered through the funhouse fractals of Thelonious Monk's music and Evan Parker's love of John Coltrane is evident. A comparison for Paul Lovens escapes me, but perhaps the fast fleet form of Andrew Cryille or Sunny Murray would be apt. "Deals" is a wonderful roller coaster, most exciting for me when they are barreling ahead full blast with Parker's caustic tone leading the charge over percussive piano and drums. There is quite a bit of dynamism at play as well, the musicians throttle through different speeds and dissolve into solos and duos as the joyride plows onward. Far from exhausted, there are three more shorter improvisations: "Village", "With Forks and Hopes" and then appropriately "Then, Silence." These shorter tracks point to a sharper juxtaposition than the lengthy leading track and show that the group has a wide range and diverse manner of approaches at their command. This was a very enjoyable album, quite exiting in the rough and tumble way that I enjoy, since I often lose my way listening to very quiet and abstract music. This is a must for fans of European free improvisation and is quite interesting in that it shows where the heralded trio got its start." (Music and More)
Alexander von Schlippenbach / piano
Evan Parker / tenor and soprano saxophone
Paul Lovens / drums
Recorded by an unknown engineer april 2nd 1972 during the Workshop Freie Musik at the Acadamy of the Arts, Berlin.
All music by Parker/Von Schlippenbach/Lovens
Mastering by Olaf Rupp & Martin Siewert. Produced by Jost Gebers. Cover by Lasse Marhaug. Photos Dagmar Gebers
Schlippenbach Trio – First Recordings
French guitar player Boni teamed up with legendary US jazz-musician McPhee in the early 80s for some intense cooperations and albums (as a duo and as a trio with Andre Jaume).
The complete concert inspired by the words of Eric Dolphy: "When you hear music, After it's over, It's gone, In the air, You can never capture it again."
Joe McPhee / soprano saxophone, electronics and voice
Raymond Boni / Electric guitar and electronics
Recorded at Hulsey Recital Hall on the University of Alabama at Birmingham (UAB) campus. April 20,1985
Joe McPhee & Raymond Boni – Live From The Magic City
"Hermann Nitsch playing the church organ in the Jesuit church of Vienna, November 20th, 2013. Four heavy drone pieces, mastered by Martin Siewert. These four tracks of Nitsch performing solo on organ are made of sustained drones that are soothing and intense. Music is beautiful and meditative, as it slowly evolves and transforms, full trills that shimmer with celestial light and glide slowly into one another in a harmony that's at the opposite of Nitsch's jarring and disturbing Aktion pieces, though with a similar droning minimalism aesthetic."
1. Satz 1 - 16:04 2. Satz 2 - 13:16 3. Satz 3 - 11:54 4. Satz 4 - 13:00
Hermann Nitsch – Orgelkonzert Jesuitenkirche 20.11.2013
"Bassist Joëlle Léandre and pianist Elisabeth Harnik have only been playing together since 2016 but this debut CD – a recording from their third ever performance – reveals a duo who have already developed a highly simpatico and sophisticated approach to spontaneous composition that draws equally on elements of free improvisation and contemporary classical music. Rather than the waxing and waning 40 minute set that presently constitutes a lot of live recordings, there is an adroit attention to form in operation here, as the duo present half a dozen perfectly shaped and finely delineated miniatures, ranging from six to 11 minutes long.
For much of the time, Léandre favours a high, tightly controlled arco full of fragile harmonic overtones that often sounds more like a cello than a double bass. When Harnik responds with pellucid splashes and rippling hazes, the two are capable of creating sustained moods of gentle wonder and delicacy. Léandre adds an element of enigma with her slightly off-mic vocalising: somewhat absent-minded, more overheard than performed, it´s ephemeral, transitory and soothing in its wordless calm, evoking the private musings of a washerwoman at work or a nursing mother cooing her love. One almost feels compelled to lean in and strain the ears, searching for fleeting meaning in her mysterious mutterings.Many of the pieces are so balanced and sensitively executed that they possess a kind of inevitability. Call it perfection if you prefer. By contrast, the more abstract and experimental gambits gleefully ride a puckish unpredictability: the scritch-scratch of agitated piano strings and polystyrene squeak slotting into Léandre´s multiphonic gossamer arco textures; dirge-like dabs of unhurried bass with arachnoid scuttlings in the body of the piano. But, even at its furthest extent, this music emanates a warmth, a patience and, yes, as the title suggests, a tenderness that´s rarely heard." - Ken Vandermark
Elisabeth Harnik / piano
Joëlle Léandre / double bass
Mastered by Jean-Marc Foussat. Artwork by Lasse Marhaug.
Leandre-Harnik – Tender Music
At The Hill Of James Magee presents the duos complete performance at the extraordinary monument "The Hill" in the Chihuahuan Desert in the middle of nowhere in Texas. John Butcher and Joe McPhee had never shared a stage before which ended up being an attentive collaboration, starting with a long duo, alternating solo performances, and closing the atmospheric set with another duo.
"The four solo pieces are advanced clinics in saxophone technique, again supplemented by architecture and wind and weather. Each performer invited the desert into their sound, giving the listener the feel of sand between our toes and the visual of sage brush rolling by." - All About Jazz
Joe McPhee / alto saxophone
John Butcher / tenor saxophone
McPhee, Butcher – At The Hill of James Magee
"Sensitive and athletic improvisation that has the flexibility to pull in multiple directions at once without violating the boundaries of the three improvisors’ distinctive voices, at times no doubt approaching, to borrow from John Corbett, the level of “sublime communication.”"
Mette Rasmussen – alto sax
Tashi Dorji – guitar
Tyler Damon - drums
Recorded Live at Array Space by Joe Strutt, Toronto, 18.6.2016. Mastered by Martin Siewert. Artwork by Lasse Marhaug
Tashi Dorji / Mette Rasmussen / Tyler Damon – To The Animal Kingdom
"It was of Peter Brötzmann‘s great concern to pay his tribute to many years of comraderie and much music together - from GLOBE UNITY times in the 70s, the PB Group, untill the CHICAGO TENTET. In one of Brötzmann’s boxes this beautiful tape – live in Osaka 1997 - was sitting and waiting for a release!"
"The way Bauer and Brötzmann collaborate on this album is really moving. There’s a mutual respect and obvious camaraderie. It’s clear that they both are enjoying their performance most when allowing themselves to let it all out there with extended improvised bursts of notes. There’s this extreme sense of having so much to say as they push through the twenty-five-minute mark without any sign of wanting to stop." -Free Jazz Blog
Peter Brötzmann / tenor & alto saxophone, tarogato, b-flat clarinet
Johannes Bauer / trombone
Masered by Martin Siewert. Artwork by Peter Brötzmann.
Peter Brötzmann & Johannes Bauer – Blue City
A 1987 performance between legendary German free-jazz saxophonist/clarinetist Peter Brotzmann and the late legendary American free-jazz guitarist Sonny Sharrock performing live at Jamkulturfabrik in Esch/Alzette, Luxembourg.
"Both players engage, respond, bluster, and resolve these eleven pieces with a mutual purpose and a reciprocity of sound. Raw and beautiful like a Paul Gauguin painting." - All About Jazz
"A surprising trademark of this album is the contrast between quiet, meditative, almost mellow passages which are confronted with brutal, distorted and wild parts like in Track 10, it’s an emotional back and forth that structures the music but also affords the listener’s permanent concentration. Another very unusual and exciting characteristic – especially of the first four tracks – is the fact that Brötzmann and Sharrock play harsh, minimalistic – almost hard-rock- like – repetitive breaks (sometimes in unison) which float either into real tunes (for Brötzmann standards) or angry outbreaks." - Free Jazz Collective
Peter Brötzmann / alto/tenor/bass-saxophone, tarogato
Sonny Sharrock / electric guitar
There is only one prior release existing of Brötzmann and Sharrock as a duo (vinyl-only on Okka Disc 2003). This live recording from the archives of Peter Brötzmann was mixed by Lou Malozzi in Chicago, mastered by Martin Siewert in Vienna.
Brötzmann / Sharrock – WHATTHEFUCKDOYOUWANT
"Wild free jazz grooves, another monster of an album from the trio of reedist Mats Gustafsson, bassist Ingebrigt Haker Flaten and drummer Paal Nilssen-Love with guests Anna Hogberg on alto sax and Goran Kajfes on cornet; intense, passionate, and precise."
Mats Gustafsson / tenor & baritone saxophones
Ingebrigt Håker Flaten / electric & double bass
Paal Nilssen-Love / drums, percussion
Additional guests on Aim:
Anna Högberg / alto saxophone
Goran Kajfes / cornet
Recorded June 1st and 2nd 2015 by Jørgen Træen at Duper studio, Bergen Norway. Mixed June-July 2015 by Johan Berthling and Andreas Werlin, Stockholm Sweden. Mastered by Lupo at Calyx Mastering, Cover by Lasse Marhaug.
The Thing – Shake
"Consisting of Mats Gustafsson (sax), Ingebrigt Haker Flaten (bass), and Paul Nilssen-Love (drums), this trio plows through nearly 40 minutes of improv across three tracks."
"The Thing is still archetypal free jazz/rock of the 21st century - it’s a group you might recommend to someone who wants to explore a more adventurous genre, although they work for experienced listeners as well. I’m surprised how this band wins me over again …. and again." Free Jazz Blog
Mats Gustafsson / tenor & baritone saxophone
Ingebrigt Håker Flaten / electric & double bass
Paal Nilssen-Love / drums, percussion
Recorded July 2nd and 3rd, 2017 by Øyvind Gundersen at Studio Paradiso, Oslo Mixed October 2017, by Andreas Werliin at Repeat Until Death, Stockholm Mastered by Lupo at Calyx mastering, Berlin Liner notes by Brian Morto.
The Thing – Again
"A giant two day meeting of three outstanding musicians German legend Peter Brötzmann is one of the leading saxophone players in the current international free jazz scene, continuing to tour and release with various musicians. Keiji Haino – japanese avantgarde wizard, mesmerizing with voice and guitar. Jim O’Rourke –outstanding composer, from ambient to free jazz to rock."
Peter Brötzmann / alto/tenor-saxophone, tarogato, clarinet
Jim O‘Rourke / guitar
Keiji Haino / guitar, voice, shamisen
Recorded At Shinjuku Pit Inn, Tokyo, on November 23, 2010
In memoriam: Yasuo Fujimura.
Thanks to Kanji Suzuki & The Pit Inn Staff, and Mark Rappaport.
Peter Brötzmann, Jim O'Rourke, Keiji Haino – Two City Blues 2
"On a peaceful summer evening in 2002 in the small village of Brösarp in Scania, twelve two- and three-cylinder tractors from the 1950s and 60s were positioned in a semi-circle at a fruit plantation and the sounds of bells ringing can be heard. Before an enthusiastic audience of 1000, the old tractors started their engines and pressed the gas pedals while idling. They raced, purred, played, and sang in the sunset. The landscape in Brösarp is a cultural landscape. With plow, horse, and tractor, it has been created by people. The efforts of generations can be read therein. A cultural landscape is a narrative of the work of people, of their villages and material conditions. Forty and fifty years old, the tractors in Johansson's work are already stories in themselves, and the audience gazes on this evening over a landscape that will soon be a sparsely populated area where not a tractor plows and not a cow grazes. One could thus experience the tractor concert as requiem and lament for a region on its way to disappearing. The tractors sing of a time that has escaped. But if there is no memory, then there is no future. As such, the Konzert für 12 Traktoren is also a work as laudation of work. By the way: if you project a Nuffield 342 faster than light, your vision goes black."
Erland JosefssonKlas BerndtssonLars-Erik OlssonSimon NeumerMagnus HildessonUlf OlssonAnderz ErlandsonPeo LarssonMorgan OlssonChrister OlssonJenny OlssonBo Isaksson
12 "Zetor" tractors directed by Sven-Åke Johansson
Recorded by Mikael Forsman, Orust, Sweden, 2009.
Sven-Ake Johansson – Konzert für 12 Traktoren
"Stephen O’Malley teams up with one of the leading drummers of the avantgarde scene, Steve Noble, to build hypnotic soundsculptures and drones."
"Despite the overall linearity of the performance, there’s plenty of nuance and dynamic sensitivity at play in its relentless crescendo."
Steve Noble / drums & percussion
Stephen O'Malley / guitars & amplifiers
Recorded at St. Francis de Sales, Philadelphia, PA, May 19th 2014. Artwork by Peter Brotzmann.
St Francis Duo – Peacemaker Assembly
"Zu has always been a mercurial and ever-changing entity: unafraid of cross-genre explorations, eager to break down barriers between musical styles. Despite playing traditional instruments, major influences on Zu's music have always been sonic explorers like Coil, Throbbing Gristle, or early Neubauten. The sound of The Left Hand Path is the somewhat hidden side of Zu, though latent in all of its previous music. It's like digging out a box from the earth, containing everything the band had wished to highlight in previous works: ambient and droney landscapes; acoustic explorations in obscurity. The album starts programmatically with the sound of a shovel digging the earth -- a soundtrack for a descent into the underworld. It's moon musick. All of the members played electronics and Massimo focused mostly on guitars. The recordings were then sent to Eugene S. Robinson of Oxbowfame. Zu knew he was the right person to add vocals to it, and to transform the music again, into a sort of contemporary post-everything voodoo blues."
Jacopo Battaglia / electronics
Massimo Pupillo / electronics, guitar
Luca Tommaso Mai / saxophone, electronics
Eugene S. Robinson / vocals
Zu + Eugene Robinson – The Left Hand Path
"There is complexity in simplicity, and Sparrow Nights is Peter Brötzmann and Heather Leigh's most enduring record to date, and their first studio album. A series of emotionally rich and boldly elucidated tonal and timbral exchanges played like compositions on pedal steel and reeds, the tracks (released as a 6 track LP and 10 track CD) are cold-forged minimalist blues motifs dragged from instrumental laments. After three years playing together Brötzmann/Leigh's connection and understanding is by now both cerebral and deeply invested in the physical and sensory possibilities of their combined sound, while retaining a melancholic distance. Within this duo there is fluidity – neither is the anchor – and these recordings sound with as much variety as the sea. At times Sparrow Nights carries the clarity and poeticism of still water and open horizon ("This Word Love"), and at others it contains the elemental and ferocious roar of white water breakers on black rocks ("This Time Around"). On their previous three live albums (Ears Are Filled With Wonder, Sex Tape, Crowmoon) the duo have developed an intimate and intense language that manifests here as a focus on power and control, where figures blasted of unnecessary decoration are drawn from the shadows and smoke of collapse. The studio setting also allows Brötzmann to bring a broader range of reeds than in live scenarios: where previously he has played primarily tenor, clarinet and tarogato with Leigh, here he delivers the heat of alto and the low pressure of bass saxophone and clarinet. Brötzmann’s duo with Leigh continues to trace a fresh new arc in his trajectory, and this release also falls at a time when Leigh releases Throne, her most song-based record to date. Here as a studio duo they play a new-old blues for times of complexity, noise and chaos, continuing to redefine and re-sound possibilities for improvised music."
Peter Brötzmann / Heather Leigh – Sparrow Nights
"The soulful and grooving play of Ken Vandermark (one of the key musicians/composers in the current free jazz scene) on reeds with the filigran electronic distortions and loops of Christof Kurzmann, with a solid rhythm layer by the young Dutch bassist lloopp Jasper Stadhouders and drummer Tim Daisy. An unusual "jazz" record, fascinating so much the more.
Ken Vandermark / reeds
Christof Kurzmann / electronics, lloopp
Jasper Stadhouders / bass
Tim Daisy - drums
Recorded, mixed, and mastered by Bob Weston.
Made To Break – Trebuchet