AB BAARS TRIO + ROSWELL RUDD – Four - Live at the BIMhuis 1998 (2001)

Label: DATA Records – DATA 012

Format: CD, Album / Country: Netherlands / Released: 2001

Style: Free Jazz, Contemporary Jazz, Free Improvisation

Recorded live at the BIMhuis Amsterdam, June 6, 1998.

Edited by – Dick Lucas and Ab Baars

Design by – Francesca Patella

1   Miff . . . . 5:43

2   Boo And Milly's Marching Band . . . . 5:18

3   Pound's Stolen Mountain . . . . 5:37

4   Truisch . . . . 7:28

5   Song . . . . 8:58

     The Year Was 1503

6   The Hotel

       Drummer . . . . 6:00

7   The Horsehead Fiddler . . . . 5:08

8   Big Eye Louis Nelson . . . . 6:30

9   Bartolomeo Tromboncino . . . . 9:06

double bass – Wilbert De Joode

drums – Martin Van Duynhoven

tenor saxophone, clarinet – Ab Baars

trombone – Roswell Rudd

Of the second generation of musical freedom fighters, Roswell Rudd proved to be one of the most astute at collective ensemble work. That's not surprising given he cut his teeth playing Dixieland and swing. This session led by Ab Baars gives him an opportunity to demonstrate that his ensemble acumen has sharpened with age. The first five numbers here are devoted to Baars' characteristically quirky Dutch compositions -- little march tunes, folk tunes, wry pop tunes, and the like seasoned with a bit of harmonic indeterminacy. These are developed through a careful interplay between the two horn players. Rudd's gruff yet sensitive trombone and Baars' chirping clarinet make for a piquant ensemble. The music, for all its free flow, remains controlled and maybe a bit too cool. The same cannot be said the final half of the program, devoted to Rudd's suite "The Year Was 1503." The suite is a series of feature numbers for each bandmember tied together by Rudd's rambunctious, over-the-top narration, which mixes the sophomoric with the surreal and is quite as characteristic of the trombonist's broad Yankee vaudeville nature -- remember he did time in a Borscht Belt hotel band -- as Baars' tunes are of his Dutch sensibility. The session ends with Rudd's solo turn, where he exercises his own wild, avant Dixie trombone to fine effect.
_ Review by David DUPONT



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AB BAARS TRIO + GUESTS – Party At The Bimhuis/10 Years Ab Baars Trio 2003

Label: Wig – 09

Format: CD, Album / Country: Netherlands / Released: 2003

Style: Free Jazz, Contemporary Jazz, Free Improvisation

Live recording at the  Bimhuis club in Amsterdam, January 17th, 2003.

Edited by – Dick Lucas and Ab Baars

Produced by – Ig Henneman

Cover photo by – Jean van Lingen

Design by – Francesca Patella

01  3900 Carol Court . . . 5:12

02  GF . . . 6:15

03  Indiaan . . . 5:48

       (Piano – Guus Janssen)

04  Party Talk 1 . . . 5:14

(Alto Saxophone, Flute – Mariëtte Rouppe Van Der Voort, Piano – Misha   Mengelberg, Viola – Ig Henneman)

05  A Portrait Of Roswell Rudd . . . 7:12

(Alto Saxophone, Flute – Mariëtte Rouppe Van Der Voort, Piano – Guus Janssen, Misha Mengelberg, Viola – Ig Henneman)

06  Party Talk 2 . . . 2:01

       (Alto Saxophone, Flute – Mariëtte Rouppe Van Der Voort)

07  Von . . . 7:03

(Alto Saxophone, Flute – Mariëtte Rouppe Van Der Voort, Piano – Guus Janssen, Misha Mengelberg, Viola – Ig Henneman)

08  Party Talk 3 . . . 2:06

       (Alto Saxophone, Flute – Mariëtte Rouppe Van Der Voort, Piano – Guus Janssen)

09  Whisper Soft Horsemeat . . . 0:35

       (Alto Saxophone, Flute – Mariëtte Rouppe Van Der Voort, Viola – Ig Henneman)

10  Reflections . . . 7:5

       (Piano – Misha Mengelberg)

11  Enter From The East . . . 4:54

(Alto Saxophone, Flute – Mariëtte Rouppe Van Der Voort, Piano – Guus Janssen, Misha Mengelberg, Viola – Ig Henneman)

tenor saxophone, clarinet – Ab Baars

double bass – Wilbert De Joode

drums, percussion – Martin Van Duynhoven

+

piano – Guus Janssen, Misha Mengelberg

viola – Ig Henneman

alto saxophone, flute – Mariëtte Rouppe Van Der Voort

To commemorate his ten years with bassist Wilbert de Joode and drummer Martin van Duynhoven, an almost unheard-of tenure for a jazz trio, Ab Baars celebrated where every good Dutch avant-gardist celebrates -- the famed Bimhuis club in Amsterdam. Inviting a quartet of guests, including renowned pianist Misha Mengelberg, the results were dutifully recorded with a tongue-in-cheek, blow-by-blow description by Kevin Whitehead in the liners. Highlights abound, including a ruggedly disjointed quartet version of Monk's "Reflections," with Misha Mengelberg added on piano, and a majestic interpretation of John Carter's "Enter from the East" performed by the septet and featuring the lonely, astringent strings of Ig Henneman. Baars' bittersweet offerings on clarinet are in full display on the opening "3900 Carol Court," where split tones and intervallic leaps combine with dramatic changes in volume to produce a prime example of his trio leadership. Two tributes are especially noteworthy. On "A Portrait of Roswell Rudd," the seven-piece ensemble is sans brass, with improvisations performed, curiously and hauntingly, by the two pianists, Mengelberg and Guus Janssen, while Baars' clarinet shadows mysteriously. The more exuberant "Von," based on the phrasing of Chicago tenorist, Von Freeman, opens with some wily drum work from Martin van Duynhoven, followed by the sprightly melodic line and leading to a raucous, un-Freeman-like solo by Mariette Rouppe van der Voort and an inspired, though less intense contribution from Henneman's viola. Interspersed among the composed tunes are three "Party Talks" -- off-the-cuff banter among close friends -- each with slightly varied personnel. In all, a fitting, understated, though very Baars-like way to remember a decade of good years while anticipating more to come.
_ Review by Steve LOEWY



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FRANZ KOGLMANN PIPETETT – Schlaf Schlemmer, Schlaf Magritte (LP-1985)

Label: Pipe Records – Pipe 153 000

Format: Vinyl, LP, Album / Country: Austria / Released: 1985

Style: Avant-garde Jazz, Free Improvisation

Recorded December 22, 1984 live at Ensembletheater Treffpunkt Petersplatz.

Composed By, Producer – Franz Koglmann

Engineer [Sound] – Michael Kornhäusl

Artwork By [Cover: Hommage R.f.] – Brigitte Kowanz

A1 - The Moon Is Hiding In Her Hair (To A Poem By E.E. Cummings) . . . 7:53

A2 - Schlaf Schlemmer, Schlaf Magritte . . . 14:50

B1 - Wenn Mich Das Wütende Abendrot Mit Seinen Schönen Augen Anblickt (To A Poem

        By Dieter Roth) . . . 5:00

Tanzmusik Für Paszstücke (Dedicated To Franz West)

B2 - I . . . 6:17

B3 - II . . . 3:47

B4 - III . . . 5:00

B5 - IV . . . 4:04

Franz Koglmann – flugelhorn, trumpet

Erich Saufnauer – french horn

Georg Lehner – oboe

Robert Michael Weiß – piano

Roberto Ottaviano – soprano saxophone

Rudolf Ruschel – trombone

Theo Jörgensmann – clarinet

Raoul Herget – tuba

Klaus Koch – bass

Peter Barborik – drums, percussion

The title of this early recording by Franz Koglmann's maddeningly fine Pipetet translates as "Sleep Schlemmer, Sleep Magritte." As has become a custom for Koglmann, his inspirations dot his musical landscape and sometimes drape themselves over its boundaries. Already at this early stage, Koglmann was moving further against the notion of "free jazz," creating a formal compositional method of old and new elements that included the need for a chamber jazz orchestra to play his original work. Koglmann's sense of harmony was also very complex at this early stage, as witnessed by the beautiful "The Moon Is Hiding in Her Hair," based on a poem by E.E. Cummings. His arrangement is taken, in equal part from Shorty Rogers and Stan Kenton, but the twelve-tone intervals in the middle of the piece are purely Viennese. Elsewhere on the title track, gorgeous swing and blues harmonies are enveloped by the outrageousness of a band destroying itself over complex polyphony and military marches run amok. But the true wonder on the album is saved for last, the four movement "Tanzmusick Für Paszstückem" based on a poem by Franz West. Here Koglmann employs a first movement constructed from a prelude for chamber jazz ensemble rich in somber hues and satiny textures. Next is a purely jazz ballad with solos by Robert Michael Weiss and Roberto Ottaviano. Here, Bill Evans is evoked in all his melodic richness, but it belongs to Koglmann too, and the way he phrases his lyric lines for the horn section is so elegant it's almost heartbreaking. But here is where Koglmann's perverse genius reveals itself: His third movement is purely a twelve-tone construct, sterile and mechanical after all the lush balladry and blessed-out pageantry. Finally, he redeems it all while pushing the envelope further by ending with a raggedy waltz begun by Ottaviano wailing to break free of the serialist mode.  As the band enters -- via the tuba -- and glibly takes the waltz drunkenly home to bed, the piece and record concludes with more questions than resolutions.

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WILLEM BREUKER KOLLEKTIEF – The European Scene: Donaueschingen Music Festival 1975 (LP/1977)

Label: MPS Records – 68.168

Format: Vinyl, LP / Country: Germany / Released: 1977

Style: Free Jazz, Free Improvisation

Recorded on 19. October 1975 live at the Donaueschingen Music Festival.

Producer, Recorded By [Recording Director] – Joachim Ernst Berendt

Photography – Wim Riemens

A1 - Ouverture 'La Plagiata' . . . 6:20

A2 – Streaming . . . 5:25

A3 - Luiermuziek . . . 4:48

A4 - Logical . . . 5:59

B1 - PLO-March . . . 5:10

B2 - Trauermusik Aus 'Keetje Tippel' . . . 5:38

B3 - Szenenwechsel-Musik Aus 'La Plagiata' . . . 6:18

B4 - Riette . . . 4:22

B5 - Nietzsche Aan Te Doen . . . 1:15

        (Nichts Dran Zu Ändern / Aus: 'Anthologie')

Willem Breuker: saxophones & clarinets

Bob Driessen: alto saxophone

Maarten van Norden: tenor saxophone

Ronald Snijders: flute

Boy Raaijmakers: trumpet

Willem van Manen: trombone

Bernhard Hunnekink: trombone

Jan Wolff: French horn

Leo Cuypers: piano

Arjen Gorter: double bass

Rob Verdurmen: drums

Photos: Wim Riemens 

Many of the pioneers of "free music" are from the Netherlands. In 1966, pianist Misha Mengelberg founds eg whole avant-garde, the ICP Orchestra with Willem Breuker will be part at the beginning. Eight years later, in 1974, he founded his own ensemble, the "Willem Breuker Kollektief." Dutch clarinetist and an important contribution to the development of European jazz is beginning to stand out from the all-powerful American model. Gradually, the old continent jazzmen discover their own identity.

Two aspects in particular distinguish the Willem Breuker Kollektief of others-seem: a subversive humor rooted in the second component of its policy clear music-ment, namely a true critique of society. Willem Breuker and reconnect all in this with the compositions of Hanns Eisler apparently popular, but careful listening reveals a true complexity. Not to mention "Parade" Erik Satie whose diverse building styles inspired probably the model for the musical concept of Willem Breuker. Pop music and circus music is also obvious references, although shaken by the Kollektief who had eleven members in its infancy, they take almost anarchic accents.

The sharp Kollektief of concerts, with real set in the 70s in particular theatricality is definitely political street theater in vogue at that time and many works that Willem Breuker then composes for film and theater. However, behind the wild arrangements changing at breakneck speed behind the musical satire often tinged with sarcasm styles, pierces through a bitter seriousness Kollektief which denounces social inequities. His trilogy ("Hunger", "Thirst" and "Misery") is a prime example. Willem Breuker and his musicians will meet the white circus clowns, characters sad white makeup enhanced with a tear.

This very serious game with art declined to infinity hide an enigmatic humor, Willem Breuker Kollektief has practiced at the Donaueschingen Music Festival Concert in 1975 published later under the ambitious title "The European Scene "and met-known musicians such Maarten van Norden (saxophone), Boy Raaymakers (trumpet), Willem van Maanen (trombone), Leo Cuypers (piano), Arjen Gorter (bass) and Rob Verdurmen (drums). All have remained loyal for decades to Willem Breuker. During this concert ovation, deliberate mix of satirical entertainment and seriousness, it followed its "PLO March "music to the civil war in Lebanon answer a moving musi-that funeral. Between these contrasts, as a link in some way, Willem Breuker weaves excerpts from the music of burlesque drama "The plagiata" which plays an essential role also in other legendary concert at the Festival Kollektief Total Music Meeting in 1975 Berlin. Prokofiev and Shostakovich at home in the classical record, the works of Willem Breuker leave a furious burst laughing with the emergency fail reason.  _  (Text: Reinhard Kager)

NOTE:

I apologize to everyone, I did not know that the album WBK - 'Live in Berlin' re available in digital form. You can get it via 'destination out' at a very affordable price:

http://destination-out.bandcamp.com/

I ask for understanding. Regards. Vitko

If you find it, buy this album!

WILLEM BREUKER KOLLEKTIEF – Willem Breuker Kollektief On Tour (1977)

Label: BV Haast Records – BVHAAST 020

Format: Vinyl, LP / Country: Netherlands / Released: 1977

Style: Free Jazz, Free Improvisation

Recorded live at Rouen-University, Rouen, France on March 3, 1977.

Concert Production – Gérard Terronès, Michel Jules

Photography By – John Prins

Recorded By – Guy Bunel, Marc Debeauvais

A1 - Husse I . . . 5:00

        (Tenor Saxophone [Solo] – Willem Breuker)

A2 - Antelope Cobbler . . . 11:27

         (Alto Sax [Solo] – Bob Driessen, Tenor Sax [Solo] – Maarten van Norden)

A3 - Brassquartet . . .1:32

A4 - Hullie & Zullie . . . 3:42

B1 - Waaht . . . 3:25

         (Trumpet [Solo] – Boy Raaymakers)

B2 - Potsdamer Stomp . . . 5:40

         (Tenor Sax [Solo] – Maarten van Norden, Trombone [Solo] – Bernard   Hunnekink)

B3 - Husse II . . . 2:33

         (French Horn [Solo] – Jan Wolff)

B4 - Husse III . . . 5:24

          (Trombone [Solo] – Willem van Manen)

B5 - Florida . . . 2:19

Alto Saxophone, Clarinet [E-flat] – Bob Driessen

Bass – Arjen Gorter

Composed By, Arranged By, Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Clarinet [E-flat] – Willem Breuker

Drums – Rob Verdurmen

French Horn – Jan Wolff

Tenor Saxophone – Maarten van Norden

Trombone – Bernard Hunnekink

Trombone, Producer – Willem van Manen

Trumpet – Boy Raaymakers

Interesting photos of the band standing stiffly with their instruments around. (Photo: John Prins)

Jan Wolff, Rob Verdurmen, Willem van Manen, Maarten van Norden, Willem Breuker, Boy Raaymakers, Arjen Gorter, Lodewijk de Boer, Bernard Hummekink, Rob Driessen, Ronald Snijders.

Photo: Joop Souverijn

A live recording from Rouen, France, On Tour, representation of the Kollektief in the late '70s. Several of Breuker's regular touchstones are covered, including tight, rhythmic crowd-pleasers like "Hullie & Zullie" and "Florida," more expansive, jazzier pieces like "Antelope Cobbler," and bits of hilarity, here a mock country & western called "Potsdamer Stomp." the Kollektief always featured some of the finest soloists around and, among others, altoist Bob Driessen, trumpeter Boy Raaymakers, and trombonist Willem van Manen deliver the goods here.

_ By Brian Olewnick

(A slightly muffled recording quality), It's good, but not clear.

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NEDERLANDS BLAZERS ENSEMBLE – De Knop (by Willem Breuker) 1977

Label: BVHaast Records – CD 0106

Format: CD, Album / Country: Netherlands / Released: 2006

Style: Free Jazz, Contemporary Jazz

Composed By – Willem Breuker

Suite Uit De Knop  (29:35)

Recorded at De Brakke Grond theatre, Amsterdam, 16 June 1977.

01.  Ouverture . . . 4:57

02.  Hier Hieronymus . . . 5:03

03.  Jantje Zag Eens Pruimen Hangen . . . 1:54

04.  Keitz Klacht . . . 6:37

05.  Vliegen . . . 1:47

06.  Tango 1 From Woyzeck . . . 1:21

07.  Tango 2 From Woyzeck . . . 1:07

08.  Verbroedering Uit Kain En Abel . . . 5:11

09.  Epilog . . . 1:33

           

De Knop - Music From The Play By Harry Mulisch  (34:44)

Recorded at Vara Radio Studio 2, 12 April 1978.

10.  Ouverture . . . 6:18

11.  Telefoon 1 . . . 1:41

12.  Incantatie . . . 1:56

13.  Telefoon 2 [Adella] . . . 2:32

14.  Hier Hieronymus . . . 4:29

15.  Strijkkwartet Uit De Knop . . . 0:48

16.  Keitz Klacht2:46

17.  Tango: Jantje Zag Eens Pruimen Hangen . . . 2:10

18.  Altviool Solo Uit De Knop . . . 0:56

19.  Parabasis . . . 2:56

20.  Vliegen . . . 1:53

21.  Telefoon 3 . . . 2:27

22.  Slaapliedje . . . 3:18

      23.  Epilog . . . 1:08

Nederlands Blazers Ensemble:

Hens Otter – bass drum, tárogató, gong

Kees Olthuis – bassoon, accordion

Joep Terwey – bassoon, violin

Leo van Oostrom – clarinets (E-flat / B-flat), alto saxophone, tenor Saxophone, tárogató

Paul Verhey – flute, piccolo flute

Joop Meyer – f rench horn, percussion

Iman Soeteman – french horn, triangle

Werner Herbers – oboe, double bass

Carlo Ravelli – oboe, english horn, violin

Martin Van Duynhoven – percussion

Henk Van Bergen – trombone [bass], cello

Wim Van Der Vliet – t rumpet, percussion

Ad Klink – trumpet, viola

Donald Blakeslee – tuba

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THE MIKE WESTBROOK CONCERT BAND – Marching Song Vol. 1 and Vol. 2 (2LP-1969/2CD-1998)

Label: Deram – 844 853-2

Format: 2 × CD, Compilation / Country: UK / Released: 1998

Originally released in 1969 as two separate LPs: Deram SML 1047 and Deram SML 1048

Style: Big Band, Contemporary Jazz

Recording Dates: 31st March, 1st April, 10th April, 1969.

Engineer – Bill Price

Executive-Producer – Bernard Lee

Leader [Musical Director] – Eddie Harvey, John Surman, Mike Westbrook

Producer – Peter Eden

Amazing jazz masterpiece from 1969, originally released in two parts on Deram and presented here as a double- CD at a single price. Double album featuring Westbrook with Alan Skidmore, David Holdsworth, John Surman and a wild collection of brass-wielding legends. An anti-Vietnam piece that takes a remarkable journey from civilisation to war and its inevitable results. A powerful and evocative piece that features some excellent performances and magnificent solo-ing as the tension mounts...

101. Hooray! . . . 6:24

        trumpet solo: Dave Holdsworth

        alto solo: Mike Osborne

        crowd sounds: Bill Price

102. Landscape . . . 15:25

        flute solo: Bernie Living

        bass duet: Harry Miller, Barre Phillips

        sax duet: John Surman, Mike Osborne

103. Waltz (for Joanna) . . . 5:50

        soprano solo: John Surman

104. Landscape (II) . . . 0:39

105. Other World . . . 8:23

        trombone solo: Paul Rutherford

106. Marching Song . . . 11:30

        tenor saxes: Nisar Ahmad Khan, Alan Skidmore

Composed By – Mike Westbrook

201. Transition . . . 5:12

202. Home . . . 7:35

        trombone solo: Malcolm Griffiths

        bass duet: Harry Miller, Chris Lawrence

203. Rosie . . . 6:36

        trumpet solo: Dave Holdsworth

204. Prelude (Surman) . . . 4:43

        woodwind: Bernie Living, Mike Osborne, Alan Skidmore

205. Tension (Surman) . . . 4:33

        saxophone duet: John Surman, Alan Skidmore

        trombone solo: Malcolm Griffiths

206. Introduction . . . 5:58

207. Ballad . . . 2:26

        alto solo: Mike Osborne

208. Conflict . . . 10:44

        tuba solo: George Smith

209. Requiem . . . 0:52

210. Tarnished (Surman) . . . 5:56

        soprano solo: John Surman

        alto solo: Mike Osborne

211. Memorial . . . 2:22

        drums solo: Alan Jackson

Composed By – Mike Westbrook except traks 204, 205, 210 by John Surman

Mike Westbrook – Piano

Dave Holdsworh – Trumpet, Fluegelhorn

Kenny Wheeler – Trumpet, Fluegelhorn

Greg Bowen – Trumpet

Tony Fisher – Trumpet

Henry Lowther – Trumpet

Ronnie Hughes – Trumpet

Malcolm Grifiths – Trombone

Paul Rutherford – Trombone

Mike Gibbs – Trombone

Eddie Harvey – Trombone

Tom Bennellick – French Horn

Martin Fry – Tuba

George Smith – Tuba

John Surman – Baritone, Soprano Saxes

Mike Osborne – Alto Sax, Clarinet

Bernie Living – Alto Sax, Clarinet

Alan Skidmore – Tenor Sax, Flute

Nisar Ahmad Khan – Tenor Sax

John Warren – Alto, Baritone Saxes, Flute

Brian Smith – Tenor Sax

Harry Miller – Bass

Barre Phillips – Bass

Chris Lawrence – Bass

Alan Jackson – Drums

John Marshall – Drums

The first time I had a chance to hear this album before about thirty years.  I was blown away then and nothing has changed in the meantime. If you like free blowing big band jazz give this a listen. You will not be disappointed.

If you find it, buy this album!