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Two years after having recorded Aurora, which Gérard Terronès released on his Futura Records label in 1971, the Théâtre du Chêne Noir put on another show, Miss Madona, first at Avignon, and then at Ariane Mnouchkine’s Théâtre du Soleil. Fromthis play, Gérard Gelas’ group took three sound extracts which they made, with no further ado, into a single.Miss Madona is thus the second recording by Théâtre du Chêne Noir. The two sides(and three tracks) offer up an unbelievable instrumental theatre with something of a white magic ritual about it. The actors, so much better for the record, were also musicians; alongside Miss Madona, ex-star of the circus and now idol, were the piano and electric organ of Daniel Dublet, the saxophones of Pierre Surtel and Jean-Louis Canaud, and the trumpet of Gilbert Say.
But there are also the vocals of Beatrice Le Thierry, Bénédicte Maulet, Jean Paul Chazalon, Monik Lamy, Nicole Aubiat... which added to the mystery of what happened on stage. The sound of this particular theatre may remind us as much of John Coltrane as of Ravi Shankar, Pierre Henry or the Art Ensemble of Chicago. There are voices from beyond the grave, inspirational for future musicians: Steven Stapleton, for example who included Théâtre du Chêne Noir in his Nurse With Wound List.
On the occasion of Record Store Day 2020, Souffle Continu, who are just to reissue Aurora, can be proud of re-releasing this single, which is rare in more ways than one.
LE THÉÂTRE DU CHÊNE NOIR – MISS MADONA
Born in 1964, Yukihiro Isso is a Japanese Noh flutist (hayashi-kata fue-kata) from a family that has been playing this instrument since the 16th century. He received his initial instruction in flute playing from his father Yukimasa Isso and performed on the Noh stage for the first time at the age of nine. From his middle school years he began to listen to a variety of different kinds of music and studying new instruments including the recorder, flute and piano. An acclaimed performer of classical Noh repertoire, Isso is also an accomplished improviser and has performed with the likes of Cecil Taylor, Peter Brötzmann and John Zorn..
Born 1946, Roger Turner grew up amongst the Canterbury musical life of the 1960’s with a strong jazz foundation. Since 1974 work has been concentrated on exploring a more personal percussion language through the processes of improvisation. Solo work, collaborations with experimental rock musics & open - form song, extensive work with dance, film and visual art, involvements in numerous jazz-based ensembles, & workshop residencies have formed part of that development.
Takanehishigu is the audio documentation of the first time these artists played together. The results are a breathtaking new music which remains respectful to the individual traditions whilst simultaneously subverting them.
Yukihiro Isso / Nohkan (noh-flute), shinobue, dengakubue, gemshorn and recorder.
Roger Turner / percussion
Takanehishigu was recorded live at Cafe Oto on 23rd Sep 2015 by Shaun Crook
Mixed by John Chantler.
Mastered by Giuseppe Ielasi.
Artwork by Paul Abbott.
Edition of 500 copies.
Roger Turner / Yukihiro Isso – Takanehishigu
Evan Parker's monumental LP of solo soprano saxophone improvisations, recorded direct-cut and issued by Incus in 1978. Lovingly reissued by Treader — the CD is from PSI — using the original stampers, in a gorgeous hand-assembled sleeve, with glossy front and matt back, flaps out. Unmissable.
‘Parker uses rapid tonguing techniques and circular breathing to create a sound all his own, marked by the simultaneous intonation of multiple notes. One hears a note as well as all the residual tones around it; each breath ends up sounding like a battle between the different registers of the horn. At various times, Parker’s saxophone sounds like dolphin speech, electronic tape squeals, or human murmurs; namely, anything but what it actually is. His language on the instrument is essential listening for anyone interested in acoustic experimental music’ (AllMusic).
‘Eight years after Topography Of The Lungs, and two years after his Saxophone Solos, Monoceros was the most muscular statement of Evan Parker’s solo saxophone muse. Superbly recorded, it seemed to place the listener within the chaotic air flows of the saxophone’s own tubing. Philip Clark said: ‘Parker’s dialogue with the saxophone throws up so much that is unexpected, and indeed unknowable, that the problem he faces is how to keep pace with his own invention’’ (The Wire, Best Albums Of The Year).
Evan Parker – Monoceros
Spiritual jazz — frank, deep, reaching; no fakery.
Tchicai appears on Ascension and Ayler’s New York Eye And Ear Control; he’s on Witchdoctor’s Son, with Johnny Dyani and Dudu Pukwana, besides landmark recordings with Archie Shepp, including Four For Trane; and his Mohawk LP on Fontana is a five-star affair. Yet still Richard Williams in The Guardian reckoned this ‘wise and lyrical’ album ‘one of his best recordings’.
Here his playing is somewhere new, oscillating between Dolphy and Konitz. John Coxon and Ashley Wales are rivetingly attuned to him, on harpsichord, trumpet, electric guitar, sampling, bowls and percussion. In different ways the music evokes such talismanic recordings as Ayler’s set Swing Low Sweet Spiritual, Jimmy Giuffre’s live performance of Jesus Maria, Trane’s Dear Lord, and George Russell’s Electronic Sonata For Souls Loved By Nature.
"'Afro-Danish saxophonist John Tchicai spent his youth playing alongside the greats- recording and performing in NYC with Albert Ayler, John Coltrane, Archie Shepp and Don Cherry amongst many others. Following a meeting at the Coimbra Jazz festival in 2004, he agreed to record with John Coxon and Ashley Wales. The beautiful resulting album sold out almost immediately on its release in 2005 and is available here for the first time on vinyl. Eloquently balanced between Eric Dolphy and Lee Konitz, his 'wise and lyrical' alto saxophone and bass clarinet playing make this 'one of his finest recordings' [Richard Williams in The Guardian] Essential.""
Originally issued as a CD by Treader in 2005. Pressed in 2019.
John Tchicai – John Tchicai With Strings
Mohammad Reza Mortazavi is a virtuoso percussionist known for playing traditional Persian instruments such as the tombak and daf. After developing more than thirty new striking techniques and progressing to be one of the most prominent players in Iran, Mortazavi travelled to Germany, eventually settling in Berlin to record and perform regular concerts the world over. His acclaimed performances have taken in venues such as Berlin Philharmonie and Sydney Opera House. In recent years, he has been embraced by the experimental electronic music community, collaborating with Burnt Friedman, Fis and Mark Fell.Ritme Jaavdanegi is Mortazavi’s sixth LP, and his first one available on vinyl. The album came together from recordings made in Berlin in June 2019, inspired by Mortazavi’s vivid reminiscence about profound experiences he had listening to music as a child. As he drifted in this time slipping reverie, the phrase ‘ritme jaavdanegi’ or ‘rhythm of eternity’ came to mind, and he found the phrase itself to match the 11/8 metre he was striving for. As such, all eight pieces on this album adhere to this time signature, which in itself harks back to the Aksak, a rhythmic pattern based on the alteration of binary and ternary quantities executed in a fast tempo, intrinsic to traditional music from Iran, Turkey, Afghanistan and the Balkans.In the same way these non-standard folk rhythms started to impact on Western music in the early 20th Century, so now you can hear an ever-increasing embrace of polyrhythms and metres that break away from the dominant 4/4 ideology. What’s most striking about Ritme Jaavdanegi, perceived through a lens of modern Western experimental music, is how Mortazavi’s virtuosic playing rivals the intensely programmed dynamics of electronica. His rapid, needlepoint drum hits bend their tonality in incredibly musical ways, but there is still an underlying focus on cyclical repetition that encourages the same ancient transcendental quality that so many contemporary artists strive for.
Mohammad Reza Mortazavi – Ritme Jaavdanegi
This recording is not a "best of", it is a reflection of Tori Kudo's evolution as a composer, from playing with seasoned musicians, to playing with people just starting out, from playing with meticulous scores, to playing call & response melodies written down, to the songs here on "Je est un Autre": instant improvisations based on keyboard compositions that Tori plays for the group. Yes, that is it. He plays a recording of himself on the keyboard, with singing or humming sometimes and he leaves it to the "big band" to interpret this on the spot. Sometimes, you can make out the melody, other times it is quite obscure, as if a sort of common shyness flows out of the collected instrumentarium.And other times, well, it is a big party.Mr Kudo and the group were invited to tour Europe to celebrate 20 years of the project Le Ton Mité, members of which are absorbed into the ensemble. The recording evolves from the static sound of hermetic conditions to the live concert in the later tracks. The studio here, is a trendy concert hall in Brussels Les Ateliers Claus. You hear the applause of the brave ears that weathered the ride of accidental psychedelia & moiré of various notes fading into and out of each other. This is only a sliver of the material from the 20 hour recording marathon documenting the new composing/playing style of Mr Kudo & snippets from the last concert of the March 2018 tour. Perhaps the album should be called "Je est un autre : Volume 1" in a vague reference to "My Brother The Wind" series from Sun Ra. In any case, here you have four sides of ten inch vinyl to take you on a journey into Maher: Je est un autre...
Tori Kudo : electric guitar, keyboard, voiceMikiko Suzuki : electric guitarMarina Shibazaki : electric guitarCorneliiiii : acoustic guitar, melodionNaoki Otani : trumpet, voiceChie Ozeki : trombone, bass, fluteJunko Harada : euphoniumTakahashi Tsukasa : drums, percussionJunko Suzuki : percussionsMomoko Maejima : pianicaShiu Yeung Hui : violin, melodicaEric Kinny : slide guitar, mandolinZach Phillips : bassJeremy Latch : clarinetEleonore Kenis : alto saxophoneMcCloud Zicmuse : bassoon, alto clarinet, recorder, chanter, synthisizer, voiceHans Bloemmen : tenor saxophoneOona Libens : musical sawFrançois Schultz : musical sawRecorded 18 & 24 March 2018 at Ateliers Claus, St Gilles, BelgiumEngineer : Christophe AlbertijnMixed by Tori Kudo at at Village Hototoguiss studio Dogo, Ehime, Japanall compositions by Tori Kudo exceptRecercada segunda sobre el canto llano "La Spagna" by Diego Ortiz (c. 1510 - c. 1570)Les Barricades Mystérieuses by François Couperin (1668 - 1733)Crickets by Jim Wilson
Maher Shalal Hash Baz – Je est un autre
Between 1978 and 1980, the Asociaux Associés (antisocial associates, TN) recorded the second of the two albums which appeared under their name: Nouveaux Modes Industriels. Philippe Doray, with the help of his 'Associés, evermore iconoclastic and numerous, backs up his anguished poetry with customised krautrock, hallucinatory pop and rock Suicide. Much more than a memory of the then surprising (and disturbing) Swinging Rouen, this album is an intergalactic ambush.Following the publication, in 1977, of the first of two albums under his own name, Ramasse-Miettes Nucléaires, on the label Gratte-Ciel, Philippe Doray didn’t waste any time before writing new obscure and experimental songs. As proof, between May 1978 and January 1980, with his Asociaux Associés (antisocial associates, TN), he recorded ten of them in the farm in which he lived (and shared) close to Rouen.In 1980, Nouveaux Modes Industriels was published thanks to the support of Invisible, the label of the Société Coopérative d'Ouvriers-Producteurs Artistiques (S.C.O.P.A., the Cooperative Society of Artistic Worker/Producers,TN) run by, amongst others, the ex-manager of Crium Delirium Jacques Pasquier. This meant that Doray had free rein for his electric poetry, his personal delirium, to be heard. He had already shaken up French music with his mix of pop, krautrock and free jazz; a few months later he would undergo a change which would be the precursor of his future projects.Before collaborating with Thierry Müller under the names Ruth and Crash, Doray let loose one last time, with his Asociaux Associés, his anguished poetry into the face of the urban labyrinth, his nuclear dynamite… It is no coincidence if the album cover is similar to those by Urban Sax, the spirit of the times was anguish as a creator of beauty. Doray’s version had the advantage of still knowing how to sing.Never forgetting his interest for dance, the musician gets Cluster moving to a boogaloo, foments a Suicide on synthetic jaw harp or invents elevator music for tower blocks… All of which hotchpotch feeds into his Nouveaux Modes Industriels. If the last track of the album states “no after-sales service”, it is simply because there is no need.*Entre 1978 et 1980, les Asociaux Associés, emmenés par Philippe Doray (Rotomagus, Ruth, Crash), enregistrent le second des deux albums qui paraîtront sous leur nom : Nouveaux Modes Industriels. Avec des associés plus nombreux et plus iconoclastes encore, Doray rehausse sa poésie angoissée de krautrock customisé, de pop hallucinée et de rock Suicide. Bien plus que le témoignage d’un surprenant (et anxieux) Swinging Rouen, ce disque est une embuscade intergalactique.Après la publication, en 1977 sur le label Gratte-Ciel, de Ramasse-Miettes Nucléaires, le premier des deux albums sortis sous son nom, Philippe Doray n’a pas tardé à signer de nouvelles chansons obscures et expérimentales. La preuve : entre mai 1978 et janvier 1980, avec ses Asociaux Associés, il en enregistre une dizaine dans la ferme qu’il habite (et partage) aux environs de Rouen.En 1980, Nouveaux Modes Industriels sort grâce au soutien d’Invisible, le label de la Société Coopérative d'OuvriersProducteurs Artistiques (S.C.O.P.A.) dont s’occupe, entre autres, l’ex-manager de Crium Delirium : Jacques Pasquier. C’est dire que Doray eut les coudées franches pour faire entendre sa poésie électrique, son delirium à lui : hier déjà, il bouleversait la chanson française à coups de pop, de krautrock et de free jazz ; quelques mois plus tard, il opère une mue qui annonce ses projets à venir.Avant de collaborer avec Thierry Müller sous les noms de Ruth et de Crash, Doray jette donc une dernière fois avec ses Asociaux Associés sa poésie angoissée « au visage » des labyrinthes urbains, du plastique, du nucléaire… Et si la pochette de l’album évoque celles d’Urban Sax, ce n’est sans doute pas une coïncidence : l’heure est à l’angoisse créatrice de beauté. Celle de Doray a, en plus, le charme de savoir encore chanter.Sans jamais trahir son intérêt pour la danse, le musicien fait alors bouger Cluster sur un boogaloo, fomente un Suicide à la guimbarde synthétique ou invente la musique d’ameublement pour barres d’immeuble… Le tout dans un gran bordello qui profite à ses Nouveaux Modes Industriels. Et si le dernier morceau de l’album préfère prévenir « Pas de service après-vente », c’est tout simplement qu’il n’y en avait pas besoin.
First ever vinyl reissueRemastered from the master tapesObi Strip + Textsheet Insert
Philippe Doray & Les Asociaux Associes – Nouveaux Modes Industriels
Valentina Magaletti and Julian Sartorius maintain a dialogue of irregular tempos and off-kilter percussion on their first collaborative record titled Sulla Pelle.Valentina is a force in the world of electronic and experimental music - working with Tom Relleen under Tomaga, jazz/pop band Vanishing Twin, the collective ‘UUUU’ with a couple of releases on Editions Mego, as well as various collaborations with the likes of Nicolas Jaar and Raime/Moin to name a couple.Julian Sartorius is a denizen in and of the beat – he's collaborated with artists such as Matthew Herbert, Shahzad Ismaily, Sylvie Courvoisier, as well as touring worldwide and widely through Europe with his solo show on the bill with the likes of Deerhoof, Faust, and Jaki Liebezeit. It’s apparent that time is not perceived in an ordinary manner by Julian – he's released a “Beat Diary” consisting of 365 beats and, on a daily basis, adds an element to his collage and modifies an 8-second audioloop under the project called Morph. More recently, he played percussion on the track ‘Firesmoke‘ on Kate Tempest‘s new record ‘The Book of Traps and Lessons‘.Sulla Pelle chisels away at your headspace at varying velocities with a harmonious flow - at times gently carving out channels that dramatically flood with syncopated kick drums and shifting propulsive beats. It’s as much about monotonous playing as it is about those moments where it seems as though every vertebra branches into tentacles and antennas ricocheting hits in foreign symbiosis.Rasping prepared drums that traverse the body into all sorts of ceremonial throttles, hedonistic arm flails, primal cheer at every incipient dynamic accent. This raw and sparse drumming and percussion record sees Valentina and Julian cueing each other in on interlocked ratchets and clanks with different mallets and metalwork from Malcom Catto’s studio on top of modular tinkering and occasional distant subdued ramblings.Sulla Pelle will be released end of August digitally and on vinyl with artwork by Benjamin Kilchhofer.
Valentina Magaletti & Julian Sartorius – Sulla Pelle
Outernational Sounds present a reissue of Nate Morgan's Retribution, Reparation, originally released on Nimbus West Records in 1984. A core member of the circle around Horace Tapscott, pianist Nate Morgan was a key member of the Pan Afrikan People's Arkestra, known as The Ark.
Here is the second of his two LPs for Nimbus West. His first, Journey Into Nigritia had been a declaration of arrival laced with energies drawn from Cecil Taylor and Coltrane. One year later, in 1984, with nods to Herbie Hancock ("One Finger Snap") and Ellington ("Come Sunday"), Retribution, Reparation was a confident statement of purpose. Politically charged with pan-Africanist Black nationalism, and titled with uncompromising directness, the album focusses the sound world of the Ark into a surging, restless masterpiece of spiritualized modal jazz. Danny Cortez on trumpet and Jesse Sharps on saxophones comprise an explosive frontline. Fritz Wise and Ark regular Joel Ector hold down the rhythm section. Morgan's forceful, Tyner-like chords and virtuosic solos bind the music together.
From the poised drama of the opening dedication to Tapscott's U.G.M.A.A. organization, through the propulsive militancy of the title track, "Retribution, Reparation" spreads the word: "Advance to Victory, Let Nigritia Be Free!" Fully licensed from Nimbus West founder Tom Albach.
Nate Morgan – Retribution, Reparation
Another essential Incus reissue by Honest Jon's.
"Percussionist Jamie Muir was a member of King Crimson during the recording of Larks’ Tongues In Aspic, in 1973. Staying less than a year with Robert Fripp, the Scot had already cut his teeth with another master guitarist, Derek Bailey, as part of the Music Improvisation Company, along with Evan Parker, Hugh Davies and Christine Jeffrey, whose eponymous 1970 album was one of the first releases on ECM. Muir and Bailey recorded Dart Drug eleven years later, in 1981.
There’s no shortage of great percussionists in the brief history of free improvised music but on the strength of Dart Drug alone Jamie Muir deserves a place at High Table. Unlike for example Han Bennink and John Stevens, though, you can’t hear echoes of any particular jazz drummer in Muir’s playing, even if he has expressed appreciation for Milford Graves (who himself sounded like nobody else who’d come before him).
What on earth did Muir’s kit consist of? Some instruments are clearly identifiable (bells, gongs, chimes, woodblocks); others could be… well, anything. Old suitcases thwacked with rolled up newspapers? Tin cans and hubcaps inside a washing machine? Who cares? It sounds terrific – but if you’re the kind of person who faints at the sound of nails scraping a blackboard, you might want to nip out and put the kettle on towards the end of the title track.
Dart Drug is consistently thrilling, and often very amusing – but it’s certainly not easy listening. In music we talk about playing with other musicians, whereas in sport you play against another opponent (or with your team against another team). Why not play against in music, too? That’s precisely what happens very often in improvised music, and Bailey was particularly good at it. How can a humble acoustic guitar hope to compete with a Muir in full flight? Sometimes Bailey’s content to sit on those open strings, teasing out yet another exquisite Webernian constellation of ringing harmonics and wait for the dust to settle in Muir’s junkyard, but elsewhere he sets off into uncharted territory himself.
“The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) – which is to give music a future.” Bailey evidently concurred with this spoken statement by Muir, including it in his book Improvisation.Derek Bailey is no longer with us, of course, and Muir gave up performing music back in 1989. All the more reason for seeking out this magnificent, wild album.
Very hotly recommended." - Honest Jon's
Derek Bailey & Jamie Muir – Dart Drug
Cien Fuegos presents a reissue of Peter Brötzmann's 14 Love Poems, recorded and first released by FMP in 1984. Inspired by a poetry booklet by Kenneth Patchen (from which it takes it‘s title), this album focuses on expression and emotion. "A monument of post-free solo reeds playing and a stunning item in Peter Brötzmann's discography, 14 Love Poems is arguably the German saxophonist and clarinetist's strongest, most compelling solo statement.
Recorded and first released by FMP in 1984, this LP showcases the full scope of the man's art and presents it in a form much more enticing than what you'd expect. This album focuses on expression and emotion instead of virility or power (two terms often used to describe Brötzmann's playing). If 14 Love Poems can be dubbed "the softer side of Peter Brötzmann," it is by no mean a collection of watered-down solos. On the contrary, one finds all the energy, ferociousness, and angst the man is rightfully known for, but his palette of feelings is stretched out to also include tenderness, elevation, and beatitude. The opening "NR. 1" (no titles, just numbers) is in fact a tempered, delicate rendition of Ornette Coleman's "Lonely Woman" on baritone sax. All the other pieces are freely improvised. They are all short (nothing over five and a half minutes), and the track list emphasizes mood swings and instrument swapping. In the course of the original album's 50 minutes, Brötzmann plays baritone; tenor and alto saxes; A, E flat, and bass clarinets; and tarogato. The range of instruments, emotions, and techniques (from straightforward melody to sound-breath techniques, circular breathing, split tones, etc.) produces a very rich, diverse, and ultimately endearing album. These pieces were recorded during the original sessions, August 21-23, 1984. Despite the fact that they don't add to the album (in terms of sound palette or techniques), they are just as lovely and striking as the pieces originally released -- not leftovers at all. This album is essential to understand the solo albums later recorded by John Butcher, Alessandro Bosetti, and the like.
"Highly recommended. 10/10" AllMusicGuide
Peter Brötzmann / alto, tenor & baritone saxophone, a-,e-flat & bass clarinet, tarogato
Cover by Peter Brötzmann. Producer: Jost Gebers, Peter Brötzmann. Mix: Jost Gebers, Peter Brötzmann.All compositions by Peter Brötzmann, except Lonely Woman by Ornette Coleman. Recorded and first released by FMP in 1984
PETER BRÖTZMANN – 14 Love Poems
Those who have caught @xcrswx live have seen the intensity at which drummer Crystabel Riley and saxophone player Seymour Wright blast improvs cobwebs away. Utterly ripped drum patterns meet subs and sax for their first physical release. A hot 7". Edition of 150.
"Feedback Moves launches with ‘Call Time / Hard Out’ by @xcrswx.
@xcrswx are London based artists Crystabel Riley (drum-/human-skin) and Seymour Wright (saxophone), who alongside performing as a duo have appeared in projects such as أحمد [Ahmed], GUO, Maria & The Mirrors and RP Boo & XT.
Call Time / Hard Out presents us with a contrast of opposing recording techniques - the LIVE and the ANDROID. Call Time is largely made up of phone recordings, mashed up to create a layered mix of mini aural breaks, which scatter barbed sax and motoric drum patterns through a cloud of bass tone and feedback. Hard Out is an edited in-house live recording from Cafe Oto which sees the duo communicating through a live language of repetition and interplay. Sparse, rotating snare and sax blows are met with pulsing subs as the mix gradually folds back on itself.
7” comes with folded @xcrswx artwork, A4 insert by @xcrswx with words by Janina Pedan and label business card. Edition of 150."
Call Time recorded by @xcrswx
. Hard Out recorded by Shaun Crook, with reflections from Amy Gwatkin and Billy Steiger. Mastered by John Hannon
@xcrswx – Call Time/Hard Out
This is a pre-order. Releases first week of July.
The recording of the last show ever in the legendary NYC club by Peter Brötzmann's Full Blast powerhouse was previously only available in a limited run of semi-official CD bootlegs. Now remastered for vinyl by Martin Siewert. Screenprinted cover with a design by Brötzmann. Edition of 500 (hand-numbered).
Peter Brötzmann / reeds
Marino Pliakas / e-bass
Michael Wertmüller / drums
Recorded live at the Tonic Club, New York, April 11, 2007
FULL BLAST – Farewell Tonic
Reissue of the rare & infamous double 7“ originally published by FMP in 1973. Recordings from a workshop at Akademie der Künste, Berlin, April 1972, featuring 15 children (aged 8-11) and Peter Brötzmann, Fred van Hove, and Han Bennink. At the beginning of the work the fifteen invited children aged eight to ten years were asked to come for four days in a row, so that a fixed, unchanging group could be expected. In practice, this was difficult to carry out, since every afternoon more children with their parents who had heard about this small course wanted to join. In spite of these organizational difficulties, approaches to real musical group work emerged. With the musicians' instruments - saxophone, piano, drums - and more experimental "sound generators" - dismantled pianos, blowing tubes, etc. - the aim was to organize sounds with conversations, games, explanations and musical actions of the musicians and children and to provoke individual musical expressions of the children within fixed areas.
Peter Brötzmann / tenor saxophoneFred Van Hove / pianoHan Bennink / drums, percussion& 15 children
---Recorded by Jürgen Lindenau in April 1972 during KINDER UND KÜNSTE at the Akademie der Künste in Berlin.
Cover design by Peter Brötzmann.Photographs by Karin Gaa.
Fred Van Hove, Han Bennink, Peter Brötzmann, Various – Free Jazz Und Kinder
Cien Fuegos presents live recordings circa 1975 Berlin from the legendary free music duo of German free jazz saxophonist Peter Brötzmann, Dutch jazz drummer and percussionist Han Bennink and pianist/accordionist Fred Van Hove. Instrumentation: Peter Brötzmann (clarinets, alto, tenor & bass saxophone, vocals), Fred Van Hove: (piano, accordion), Han Bennink: (drums, cymbals, Schwirrholz, accordion, clarinets, floor, walls, megaphone, etc.). Recorded by Jost Gebers on Sunday afternoon, September 14th, 1975 at the Quartier Latin in Berlin. A6 was recorded live by Jost Gebers on September 13th, 1975 at the Quartier Latin in Berlin. Produced by Jost Gebers. This album was originally released on FMP, 1970. FMP catalog number: FMP 0230.
This cooperative trio released a number of albums for FMP in the late '60s and early '70s, and affords the listener a chance to hear a lighter, more playful side of Peter Brötzmann, whose reputation is derived from more extreme and assaultive sessions such as Machine Gun and Nipples. Surely part of this approach is due to the antic nature of percussionist Han Bennink, who, whether playing his drum set or the studio floor, accordions or clarinets, rarely fails to inject wit and sly humor into the proceedings. Tschüs is arranged almost as a suite of shorter works, some having a relatively straight jazz and blues nature, others edging into the investigation of pure sound as championed by groups such as AMM. Van Hove's clear, supple piano playing often serves as the bridge between Brötzmann's wilder stylings and Bennink's (often literally) off-the-wall punctuations. Brötzmann's bass sax work on "Bierhaus Wendel" is lush and creamy, especially in conjunction with Van Hove's accordion. The album ends with a charmingly schmaltzy vocal rendition of the title cut, featuring Brötzmann's crooning over the strangled bird cries produced (who knows how?) by Bennink and Van Hove's cocktail piano. This alone is worth the price of admission."-Brian Olewnick, All Music Guide
Peter Brötzmann: clarinets, alto, tenor & bass saxophone, vocalsFred Van Hove: piano, accordionHan Bennink: drums, cymbals, schwirrholz, accordion, clarinets, floor, walls, megaphone
PETER BRÖTZMANN, FRED VAN HOVE & HAN BENNINK – Tschüs
Pressed on 180-gram vinyl. Cien Fuegos presents a reissue of Pakistani Pomade by the Schlippenbach Trio, originally released on FMP in 1972. Evan Parker: soprano and tenor saxophone; Alexander von Schlippenbach: piano; Paul Lovens: drums. Recorded by Dietram Köster in November 1972, Bremen. Artwork by Benjamin von Schlippenbach; layout by Peter Brötzmann.
Schlippenbach Trio – Pakistani Pomade
180-gram vinyl. The legendary, rare Brötzmann album finally reissued on vinyl for the first time, with the special fold-out leporello on the front. One-time pressing of 1000. Originally released on Calig in 1969. Side A: The Peter Brötzmann Sextet: Peter Brötzmann: tenor sax; Evan Parker: tenor sax; Derek Bailey: guitar; Fred van Hove: piano; Buschi Niebergall: bass; Han Bennink: drums. Recorded at Tonstudio Bauer, Ludwigsburg, Germany, on April 18, 1969; recording engineer: Kurt Rapp. Side B: The Peter Brötzmann Quartet: Peter Brötzmann: tenor sax; Fred van Hove: piano; Buschi Niebergall: bass; Han Bennik: drums. Recorded at Rhenus Studio, Godorf, Germany, on April 24, 1969; recording engineer: Conny Plank. Cover design: P. Brötzmann.
THE PETER BROTZMANN SEXTET / QUARTET – Nipples
First vinyl reissue of Alarm by the Peter Brötzmann Group, originally released on FMP in 1983. Harry Miller: bass; Louis Moholo: drums; Alexander von Schlippenbach: piano; Peter Brötzmann: saxophone; Frank Wright: saxophone; Willem Breuker: saxophone; Toshinori Kondo: trumpet; Alan Tomlinson: trombone; Hannes Bauer: trombone. Recorded during the 164th NDR Jazzworkshop, November 12, 1981, at the Funkhaus Hamburg. Produced by Peter Brötzmann and Jost Gebers. Cover design by Peter Brötzmann.
PETER BROTZMANN GROUP – Alarm