Thursday, November 29, 2012

MARSHALL ALLEN, MATTHEW SHIPP and JOE MORRIS – Newport Jazz Festival 2010 - Night Logic Suites 1-5 (2010)


Marshall Allen, Matthew Shipp, and Joe Morris In Concert: Newport Jazz Festival 2010 
Quad Stage, Fort Adams State Park, Newport, Rhode Island

Note from Greg Drusdow:

date: Mon, Aug 9, 2010 at 7:40 PM subject: Marshall Allen broadcast from Newport Jazz Festival 2010 WGBH-FM & National Public Radio (NPR) broacast a select group of performances from the Newport Jazz Festival 2010 this past weekend.

The August 7, 2010 appearance of Marshall Allen (alto sax, flute, EVI*), Matthew Shipp (piano), and Joe Morris (bass) 
* at times, Marshall Allen's EVI sounds like an electronic slide whistle!

Design by ART&JAZZ Studio - 2012
Artwork and Complete Design by Vitko Salvarica

Marshall Allen played reeds with Sun Ra for decades. Matthew Shipp has created one of the most distinctive piano voices of his generation. Joe Morris anchors on bass, an instrument he mastered after first establishing himself as a guitarist. At the Care Fusion Newport Jazz Festival in Newport, R.I., the meeting of three top free improvisers performing "Night Logic Suites 1-5".


The Newport Jazz Festival, was founded by jazz pianist George Wein in 1954 as the first outdoor music festival of its kind devoted entirely to jazz, and is now universally acknowledged as the grandfather of all jazz festivals.

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Tuesday, November 27, 2012

SCHLIPPENBACH QUARTET – Hunting The Snake 1975 (2000)

Label: Atavistic – UMS/ALP213CD
Series: Unheard Music Series –
Format: CD, Album; Country: US - Released: 2000
Style: Free Jazz, Free Improvisation
Recorded September 10, 1975, Sendesaal Radio Bremen, Bremen, Germany.
Engineer [Recording] – Ramie Köster; Mastered By – John McCortney
Painting [Cover] – Michael Snow; Design – PM Froehle
Photography By [Photo Portraits] – Roberto Masotti
Producer – John Corbett; Recorded By – Peter Schulze


The material on Hunting the Snake -- four lengthy improvisations, each in the 20-minute range -- comes from a live 1975 radio performance but was not released until 2000. It features all three members of the long-running Schlippenbach Trio (pianist Alexander von Schlippenbach, saxophonist Evan Parker, and percussionist Paul Lovens) along with Peter Kowald on bass. The music here is dense, kinetic, atonal, and often harsh, but while not easy listening, this album is not entirely remote or inaccessible, either. The group's playing is very physical and energetic, and though it is recognizably distinct from most American free jazz, the jazz roots are, at this point, still readily discernible. The real interest comes in listening to the quartet's interplay, which is less refined than on some of the Schlippenbach Trio's later work, but which has a certain ragged cohesiveness and charm of its own. Parker's scraping saxophone, Lovens' junk-pile percussion, Kowald's feverish bowing, and Schlippenbach's atonal piano clusters contribute equally to the music's flow -- there isn't a real separation of "lead" vs. "rhythm" instruments during most of the album. Occasionally, however, Parker steps out on his own and lets loose with an extended high-pitched squall, as he does on the standout title track; these abrasive solo moments are especially interesting (or hard to listen to, depending on your take). Its near-80-minute running time is exhausting, but Hunting the Snake is worth tackling in more manageable doses, as it continues to sound daring and alive more than 25 years after its creation. AMG.

                                              Parker                  Kowald


The Schlippenbach Trio remains one of the most redoubtable ensembles in creative improvised music due in no small measure to the sum of its formidable parts. Schlippenbach, Parker and Lovens need no introduction to those the least bit familiar with free jazz. The seemingly unsurpassable stature of their union was forged over the course of sporadic meetings and recordings and though the group has been in existence for decades only a handful of albums are represented in its discography. Several occasions over the years have
afforded a chance for a fourth to join the fold most commonly either Alan Silva or Peter Kowald on bass. This treasure trove date unearthed through the efforts of producer John Corbett recounts one such meeting early in the trio ’ s existence with German bass impresario Kowald joining the triumvirate for a session recorded by Radio Bremen.

The music contained herein stretches the running time of the disc to its limits threatening to spill over the eighty-minute mark. Four long pieces make up the program and each one is loaded to the gills with furious and furibund interplay. On the opening “ Glen Feshie ” Schilippenbach ’ s lyrical chords flank Kowald ’ s keening arco streaks. Lovens overruns his kit with raucous clatter and chatter, though an underlying fragmentary pulse pervades even his most verbose stick work. After an initial extended shriek Parker drops out leaving the group convulsing heatedly in trio formation. Kowald saws off splintered harmonic shards in a solo interlude before Lovens and Schlippenbach, worrying his piano innards zither-style, rejoin him. Parker ’ s soprano descends soon after in a whinnying swirl of multiphonics before ascending heavenward in a harmonic arc trailed by bowed bass and cymbals.

                                              Lovens                 Schlippenbach

Lovens opens “ Moonbeef ” with a cyclic metallic cranking over which Parker ’ s suspiring tenor takes hold. Kowald and Schlippenbach annex much of the remainder of space with elastic tears and chiming clusters. Racing across the keys on the title track Schlippenbach vertical wall of self-immolating clusters. Further on in the piece Parker ’ s serrated soprano sustains create an eerie counterpoint to the pianist ’ s more lyrical musings. Kowald ’ s worried bow dogs his strings creating an almost continuous spray of charged particle harmonics. Parker ’ s solo statement that dominates the second half of the track delivers a deliciously drawn out sample of his long-lauded circular breathing style. Whistling wind chimes and the songs of humpback whales are just some of the auditory images conjured by his extended techniques. So much is packed into each piece that despite the disc ’ s lengthy duration, temporal density dissipates swiftly. The rarity of this recording alone is enough to announce its value. Couple this with the wealth of improvisatory energy channeled consistently through the music and the disc is made indispensable.

By DEREK TAYLOR, Published: October 1, 2000 (AAJ)

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Sunday, November 25, 2012


Label: Leo Records – CD LR 625
Format: CD, Album; Country: UK - Released: Jan. 2012
Style: Free Improvisation
Recorded live at RBB Studios, Berlin on August 14th, 2009, Mixed December 1, 2009
Design, Cover – Clare M. Cooper; Edited By – Anja Bause
Engineer – Nikolaus Löwe; Mastered By – Ricarda Molder, Photography By – Dietmar Liste; Recording Supervisor – Wolfgang Hoff

Three bass instrumentalists - Gebhard Ullman on bass clarinet and bass flute, Chris Dahlgren on double bass, and Clayton Thomas on double bass, improvising on the lower end of the tonal range of chamber music.

For fans of low tonalities, BassX3′s new album Transatlantic is heaven. It ’ s the second one from multi-reedman Gebhard Ullmann (who plays bass clarinet and bass flute) with bassists Chris Dahlgren and Clayton Thomas. To call this the best jazz album of the year so far invites all kinds of arguments – after all, can a recording this opaque, rhythmically inchoate and impossibly esoteric be much more than a curio? Absolutely! Whether you consider this free jazz, ambient music or indie classical, it ’ s a rich, murky masterpiece. Its centerpiece is the title track, an epic, 33-minute three-part suite. The low drone of the two basses being bowed in tandem builds a chocolatey mist laced with overtones, with the occasional creak, thud or rattle, evoking the hum of the diesels and maybe a hammock swaying in a stateroom. You could call it the Titanic Theme – from the point of view of passengers in steerage, anyway. Ulllmann, as usual, doesn ’ t limit himself to any preconceived tonalities, offering a blithely whistling microtonal solo in the first segment as the bassists rattle the occasional random household item like ghosts flitting through the sonic frame.

                          Clayton Thomas

The other tracks here are just as enjoyable and much less static. The Thing features burbling, echoey twin basses with the bass clarinet wandering the moors, off to the side; then the basses back away, leaving Ullmann prowling contentedly, centerstage. The No Place has the bass flute looming pensive and minimalistic over jagged, distantly percussive bass chords and atonal accents and the occasional jarring pluck of a string: an Asian-tinged horror film score for before the point where the suspense reaches the level of a scream. The aptly titled Epic layers minutely wavering bass flute over a rather menacing backdrop of overtones and low washes; then the group all go spiraling around in what sounds like the bottom of a well before returning to a lusciously droning rumble that Ullmann uses as a long launching pad for some unexpectedly energetic low bass clarinet work. Ornette ’ s Closet contrasts brightly bouncing clarinet over echoey low-register playfulness; the diptych Berlin Is Full of Lonely People, a desolate, brooding tone poem, is the most melodically memorable track here.

Ullmann also has a considerably more lively if less intense release out with his Clarinet Trio, simply titled 4, featuring him playing bass clarinet alongside Jurgen Kupke on clarinet and Michael Thieke on alto clarinet. Fans of Ullmann ’ s back catalog will find this casually conversational session more in line with his previous free jazz work. The tracks include an artfully disassembled, brightly layered Balkan cocek dance; a wryly swaying, atonal blues; a tensely exploding tone poem that might have been a sketch for Transatlantic; a playfully martial study in low-register clusters; all sorts of friendly jousting, and an Ornette Coleman cover. Both albums are out now on Leo Records.

                         Gebhard Ullmann

Written by Glenn Astarita

This Germany-based trio artfully expresses the lower register realm, framed on a program that enables the musicians to share equal ground and incorporate a concentrated focus, cloaking a major portion of the album. With growling basses, sinewy arco-passages and the use of objects to alter sounds and provide an ethereal framework, the musicians uncannily tender motifs that could sometimes allude to the use of background electronics. In a sense, the trio plays tricks with your psyche, abetted by darkly resonating notes and supple passages. They often intimate a sacred rite of passage amid several spikes and interconnecting movements, signaling understated buoyancy.

While playing the bass flute, Gebhard Ullmann amid the bassists' shrewd use of space and contrasting effects, conjure notions of a solemn vista, including delicate treatments and hallowing auras. On various pieces, the musicians radiate craggy tones, complemented by otherworldly extended notes and dense frameworks. Armed with a consortium of concepts, they touch upon minimalism and offset the undulating currents with lashing breakouts.

The piece titled "Berlin is Full of Lonely People (Part One)" is aggressive and inward- looking. They present striking disparities encapsulated by Ullmann's haunting flute phrasings and the bassists' angular statements. Here, they navigate through darkness as blithe settings coalesce with fleeting themes. And at various points throughout the set, they inject a coarse edge where Ullmann's bass clarinet work serves an instigator and prompts the slicing and dicing three-way interactions.

As it might be anticipated, the artists do not simply indulge in wanton cacophony or purposeless improvisation. Hence, it's a cohesive engagement that digs deep into the soul and proposes a surfeit of compelling persuasions.

                          Chris Dahlgren

It used to be usually the pride of any musician (vocalist) to get the highest note possible on the instrument, clear and crisp. The idea of assembling together three low-register instruments might not be revolting today but nevertheless it's not something you meet too often. Which is but one of the reasons BASSX3 project should attract your attention.

BASSX3 is about unusual sound possibilities, and the album's titles gets it right - low bowed notes are not unlike the wailing of the transatlantic's siren, but in their creative adventure they manage to expand the sonic capabilities of own instruments with up to the area of high ear- piercing sounds of metallic overtones, bowed plates and plucked strings. Gebhard Ullmann, Chris Dahlgren and Clayton Thomas create together music that esquisitely original and uniqe in its sonorus vision and captivating in its surreal qualities. Rumbling vibratos, ritual and primal drones, noir suspens of deep tones, waling low-cries as if distorted through some space-time continuum filter, slowed down, maximalized, detailed, deceiptevely minimalistic on the outside, reach and colourfull below the surface. As "Transatlantic" part three which finishes the cd with the drone vibrations and clarinet growls, like boiling water in the pot with the top on, with all the heated vapour trying to escape) . This is music of incredible tension, of gripping, unwordly atmosphere, of almost infinite depth and reach. Majestic, pensieve, meditative and cerebral (as the title aptly suggest like "The Epic" or the three parts of "Transatlantic"; the qualities are reinforced when the gentler sound of the flute substitues for the darker tones of bass clarinet). Restrained, focused yet adventurous, with "Ornette's Closet" being the only change of pace as the musicians prove they can make the notes jump and run in the free bop vein.

An unique concept that gave unique results. Deeply intriguing and gratifying. Music for those who'd like to dive down deep into the depths of the ocean. Surreal voyage. Brilliant.

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KOHACHIRO MIYATA – Shakuhachi - The Japanese Flute (1997)

Label: Nonesuch 1997 
Kohachiro Miyata - Shakuhachi: The Japanese Flute 
Genre: Ethnic, Japan, Shakuhachi

KOHACHIRO MIYATA has been recognized in recent years as one of Japan's leading players of the shakuhachi. He joined the Ensemble Nipponia shortly after its inception and is one of its most prominent members: he has been selected as one of the few to participate in each of the Ensemble's overseas tours. Mr. Miyata is noted for his playing of contemporary as well as traditional music, and his recital programs are devoted equally to both repertories. He is regarded as one of the first to compose and perform on the modern 7- hole shakuhachi.

                            Kohachiro Miyata and Rodrigo Rodriguez - Shakuhachi

(宮田耕八郎) Kohachiro Miyata - (尺八) Shakuhachi

1. Hon Shirabe ( 本調 ) 03'54
2. San'ya ( 三谷 ) 06'38
3. Tsuru no Sugomori ( 鶴の巣籠 ) 06'21
4. Shika no Tone ( 鹿の遠音 ) 07'54
5. Akita Sugagaki ( 秋田菅垣 ) 09'32

This CD is re-release of an LP issued in 1997 by Nonesuch. It is probably one of the most known and most sold shakuhachi records in the West. When one looks around for Japanese music, it may be the one found the most often. Kohachiro Miyata is considered one of the leading shakuhachi players in Japan, along such musicians as Katsuya Yokoyama, Goro Yamaguchi, or Aoki Reibo, for example, as well as being an active composer of works for traditional Japanese instruments. On this CD, he presents us with five of the most known pieces of the Japanese honkyoku repertoire (honkyoku referring to solo pieces for shakuhachi). The one thing that strikes the most about Miyata's playing is the purity and quality of his sound. There are many different styles of playing the shakuhachi, some breathy, some more technical, some with particular playing techniques, generally according to the style of a particular school of playing. Miyata's style is natural, looking for a quality and purity of sound in each and every note. A must!

Yes ... Maybe a little shocking surprise, but ... it is so nice ...
Relax and enjoy the music.

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Wednesday, November 21, 2012

EVAN PARKER and EDDIE PRÉVOST – Most Materiall (2CD-1997)

Label: Matchless Recordings – MRCD33
Format: 2 × CD, Album; Country: UK - Released: 1997
Style: Free Improvisation
Recorded at Gateway Studios, Kingston, England on February 23rd (CD 'A', and 'B' 1) and April 13th (CD 'B' 2, 3, 4, 5) 1997.
Engineer – Steve Lowe (2)
Liner Notes – Christian Wolff
Painting [Front Cover Painting] – Brenda Mayo

Liner Notes:

Evan Parker saxophones & Eddie Prévost percussion

Double album, double solos of two distinctive musicians, becoming duets in a relatively rare space between solo playing and ensemble. Reed and percussion start at different places, the one working through breath, the other pulse of materials being struck, one typically characterised by line, the other by attack, producing in the first pitch configurations, in the second beat patterns (Prévost doesn ’ t use the specifically pitched mallet instruments). Each player comes with a distinctive sonic identity, but they ’ re frequently crossing. The main intersection is sonority. The saxophone can splutter, click and gesture, notably in the extreme registers and the rapid shifts between them, with just sound. Prévost makes long, sustained attackless sounds by bowing his cymbals and gong, and his invented string drum tosses up melodic fragments. Percussion drives and saxophone sings, but Parker can drive just as hard and Prévost make a singing sound. Sometimes you can ’ t tell which of the two ’ s sounds you ’ re hearing. There ’ s a lot of music here, like a long book, on eight tracks, each with with particular sound and overall shape, but all parts of a large, continuous process, coherent.

The ingredients of the coherence are various and in-process. The impulse of the playing is free, improvised, discovering, but the playing is always in sharp focus, clearly etched, completely attentive; nothing ’ s casual, there ’ s no drift. The production of single sounds, extended continuities, streams of sound is exact - at high speeds, at slow and searching, when the sound is scattered and spaces open up, when it ’ s meditative or rhapsodic, or wherever in between it may be. Always the playing fuses this focused discipline (exercised, incidentally, on remarkable virtuosity) with impulse which rides the controls, and foci, of breath (with Parker often circular, uninterruptedly sustained) and pulse, the processes of producing the sound. With sound production at source and center, melodic, harmonic and rhythmic structures are resultants. This may seem to give the music a rather abstract, distanced feeling. But what could be more immediate than this closeness to the sounding process itself? The making of the sounds is a way of finding, letting loose melodic tracings (often close to pentatonic and overtone series- related pitches), cohering and dissolving rhythmic patterns, and the larger structural shapes of whole pieces (cuts). The latter seem to me particularly transparent, and so, affecting, in a rhythm of transformation, back and forth and forward, between slower and faster, scattered and driving and flowing, variegated and reduced, absences and presences - no drums, only drums, persistence in a register of the sax, in a mode (color) of playing; timbral shifts making structural shapes. The harmony is in the interplay and balancing of the players ’ sonorities, and occasionally, surprisingly, pitch-related, the pitch of a drum tuned to by the sax (say, towards the end of track 4 of CD 2). The sax too has its multiphonic chords (grounded in the instrument ’ s physical, acoustic construction) or, when rapidly shifting between registers, implies, as in Bach ’ s writing for solo instruments, two or more vertically related sound layers. And Prévost ’ s bowing on metal produces rich harmonic sonorities.

Though the music of these duets might appear abstract, avoiding obvious epiphanies, the quality of the sound-making persists at an unfalteringly high level of attention, where at almost any moment there maybe surprise and discovery. As listener you too, then, have to be a discoverer. For all the edge and drive the music ’ s not aggressive, not at your throat. It ’ s more matter-of-fact (as John Cage said of Satie ’ s music, that it was simply in-your-face), It ’ s tempting to say that these performances are masterful too, the music of two masters - meaning nothing pretentious, just technically, in the sense of accumulated and sustained craft and invention, experience and renewal.

Christian Wolff - C August 1997


In Britain, the two earliest groups of committed free improvisors were the musicians based in AMM and those based around the Spontaneous Music Ensemble. There was surprisingly very little interchange between these two groups. The reason for this appears to be that they had two distinct approaches to improvisation. AMM seemed to be exploring a more textural and spatial group approach as opposed to SME's more conversational and cellular method. Of course, the disctinctions were not so cut and dry but they clearly approached the issue from two different directions. Drummer/percussionist Eddie Prévost has been one of the main constants of AMM and over the course of the past 3D-plus years has both refined his percussive approach and (through side projects) demonstrated the scope of his abilities. Prévost's side quartet is a solid (and underrated) jazz group and an earlier Matchless recording, 'Premonitions' by the Free Jazz Quartet (which included trombonist Paul Rutherford, an Incus/SME stalwart) showed his familiarity with the methods of the 'opposing' camp. Saxophonist Evan Parker has made similar investigations. His duet album with electronic musician Walter Prati didn't sound too far away from AMM's sonic landscapes.
One would think the two would have moved even further away from each other stylistically over the years. But, ultimately, free improvisation in a group situation is about finding common ground and these two individualists do just that on this series of remarkable duets recorded in a in February and April last year. This is not a case of two diametrically opposed styles coming together. Rather, each has enough improvising technique and intelligence to work with the other, drawing on the other's approach and applying his own technique to it. Over the years, Parker's sax style (especially when playing solo) seems to have become denser and he seems to have pared space in his music down to a minimum. Yet, here he seems to be reaching back to his earlier style of improvisational architecture and he allows a lot more breathing space (so to speak) into his music. This is most evident on 'That More Might Have Been Done, Or Sooner'. (By the way, all titles are taken from Francis Bacon, hence the older English spelling.) By the same token, on 'Nil Novum', a skittering duet with Parker on soprano, Prévost's tuned drums gives the impression that Parker is dialoguing with another horn. Then there's the astonishing passages of textural exploration with Prévost's bowed cymbals and deeply tuned cavernous drums matched by Parker's clicks, pops and spectral harmonics. And then there's the final duet 'Chastise Me, But listen' which seems the closest to American 'free jazz' that these players have come. It's almost as if they're paying homage to the John Coltrane/ Rashied AIi duets on 'Interstellar Space.' Although the two have recorded together before in group situations, most notably on 'Supersession' in the mid-'80s, 'Most Materiall' seems like a project that's been fermenting for over thirty years. I guess it's true, good things are worth the wait.

— By Robert lannapollo

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Jazz Masters Open Book Collection – Placard No.5 - 2008

Graphic Design:
Placard No.5 – Jazz Masters Open Book Collection 2008
Theme: Hydrophonic Jazz – Ode To A Lake Sturgeon
Design by ART&JAZZ Studio SALVARICA – 2008
Artwork and Complete Design by Vitko Salvarica


„And we should consider every day lost on which we have not danced at least once. And we should call every truth false which was not accompanied by at least one laugh.“
(Friedrich Nietzsche)

Welcome to new prog-blog "Different Perspectives In My Room...!".
Enjoy the music, and please leave a comment. Thanks in advance.

Regards, Vitko

Sunday, November 18, 2012

PAUL SMOKER QUARTET – Standard Deviations (1999)

Label: CIMP – CIMP 186
Series: Spirit Room Series – Vol. 76
Format: CD, Album; Country: US - Released: 1999
Style: Free Jazz, Contemporary Jazz
Recorded at The Spirit Room, Rossie, NY, Sept.22 & 23, 1998
Produced By Robert D. Rusch
Cover Art: Unstandard Zebiations By Kara D. Rusch

CIMP Note:

Productions and concepts, like improvised music, evolve, when allowed to, in a natural and usually beneficial way. The original idea for this set grew out of CIMPhonia #1 (CIMP 173 & 178), an arranged gathering (May 1998) for impromptu music which brought together Peter Kowald, Dominic Duval, Mark Whitecage, Joe McPhee, David Prentice, Paul Smoker and Jay Rosen. It was a lovely time of expressive sharing and out of it came the idea between Jay and Paul to do a duo project and out of that evolved the concept of a trumpet, guitar, cello and drum quartet interpreting material out of the Great American Songbook.

The group arrived in a caravan of cars on Tuesday, September 22, having played a gig at Rochester ’ s (NY) Bop Shop the night before. Relaxed informality set the tone as Tomas, Jay, and Paul are familiar faces at the CIMP premises. Steve Salerno (1961, New York) was the new face but, being a former student of Paul ’ s, from back in his Iowa days, and having worked with Jay on and off since the mid-80s, he too seemed very comfortable and proved to be both hip and appropriate in his utilization of the guitar.

Supper was followed by an unusually lengthy sound check and by the time the concert formally began, it was after 10 p.m. I will admit to some anxiety since, for me, sound checks are a period of hurry up and wait and by 10 p.m. the fellowship and anticipation I had felt in the earlier hours had lost its edge and been replaced by a growing fatigue. Fortunately, the quartet, having been more directly and continually involved with the sound set-up, had not lost its edge. They opened with “ By Myself, ” followed it up with “ Stormy Weather/When the Sun Comes Up ” and, after that incredible performance, took a break. By then my spirits were soaring, the adrenaline of artistry had reinvigorated me.

It occurred to me that individually, and even more so as a sum of their individual talents, these guys make musical artistry look commonplace. Yet, seasoned listeners will know there is nothing typical, or same old same old, about this concert. It ’ s not that they do no wrong, it ’ s more a measure of how right they are in their use of talents, imagination and the integration of it all into a musical whole. Here is a standard of artistry too rarely reached or demanded.

This is huge music and these are monumental players and that ’ s really the bottom line. There are classic interpretations of classic music here and charting it all may take years of listening: oh, the joy and exultation of it. This is humankind at its best – partake.

By Robert D. Rusch - 9/23/98

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Wednesday, November 14, 2012

DENNIS GONZÁLEZ YELLS AT EELS - Resurrection and Life (2011)

Ayler Records - Catalog ID: AYLCD-125
Format: CD; Country: Sweden - Released: 2011
Recorded in Dallas, USA on July 23-24, 2010 and September 17-18, 2011.
Cover art by Dennis González
Packaging: Cardstock gatefold foldover


In August of 2009, drummer Alvin Fielder, the legendary AACM founder, was near death, seemingly at the end of a long and productive life. Indeed he had already died several times, only to be brought back by doctors each time during a grueling seven months of grave illness. After his amazing recuperation, the 76-year-old living treasure travelled to Dallas during the summer of 2010 (and then again in September 2011), specifically to visit trumpeter Dennis González and sons (contrabassist Aaron, and vibraphonist/drummer Stefan) and work on this Yells At Eels project, with several days of rehearsal, recording and relaxation, along with the talented young trombonist Gaika James, joining the González clan on these occasions and providing the perfect sound to round out the quintet. The aptly named Resurrection and Life presents the most inspired moments of these Texan sessions.


I come from a family of musicians; both my grandfathers wrote and played music, and my father plays trumpet, once cutting a record as part of Texas ’ Montezuma Band. Growing up, I tried my hand at several instruments, never really mastering any of them, but I retained my love of music and my appreciation of how music is created. I call Dallas ’ Oak Cliff my home, so imagine how intrigued I was when I learned that one of Jazz’s most influential musicians has been living and creating music right here in North Texas, in the heart of Oak Cliff. His name is Dennis González.

A musician/composer, visual artist, broadcaster, writer, educator and linguist, Dennis González showcases a wide array of talents but when it comes to music, it ’ s all jazz man. For the past 35 years, González has led the way in Underground and New Jazz styles that have defined the genre here in the United States, as well as in Europe. He has performed in festivals, concerts, workshops, and television and radio programs throughout the world, but he stays close to his roots here in Dallas, where he produces CDs under his own label: daagnimRecords.

Great musicians enjoy collaborating, and González is no exception. He’s jammed with such Jazz legends as Alvin Fielder, Tim Green, Kidd Jordan, Marlon Jordan, Elton Heron and Clyde Kerr. But in true Latino style, González stayed close to family by forming an eclectic jazz band with his two sons Aaron and Stefan. The trio formed Yells at Eels, a collaboration of different freestyle Jazz sounds that mix surprisingly well to produce a modern Jazz sound that feels both edgy and classic at the same time. Yells at Eels is starting 2012 with a new album, Resurrection and Life, that brings the Yells at Eels trio together with the drumming magic of New Orleans Jazz legend Alvin Fielder. Dennis González and Alvin Fiedler have a long history of producing music together; a relationship that sometimes brought them together for jam session in his house in Oak Cliff.

“I’ve been playing and recording with Alvin Fielder for almost 30 years. My sons were tiny tots at the time of the early recordings and concerts, running around in skivvies all over the place as we recorded and rehearsed at the house in Oak Cliff. So they grew up with all these legends hanging out in the living room and eating their mom ’ s great country cooking during the rehearsals. It was in 1999 that I started making plans to have Aaron and Stefan, now great instrumentalist in their own right, join with me and Alvin. Nothing wrong with two percussionists playing together, especially Stefan and Alvin! So we started recording Yells At Eels with Alvin Fielder and other well-known jazzers as well, ” González said in an interview with the Dallas Observer.

Dennis González Yells At Eels featuring Alvin Fielder has just been made available this week to purchase and download online here. Listening to a few of the tracks and watching the homemade video of the two González brothers jamming with Alvin in the video below, you get the sense that this album, and this collaboration, has a rich history fueled by the love of Jazz music. The fact that Dennis, Aaron and Stefan have together harnessed the musical bug that runs in their blood makes this family of musicians something that Dallas should proudly call an extremely talented product of Oak Cliff.

by Phillip Morales (Dallas Observer)

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Monday, November 12, 2012


Label: Jazzwerkstatt - Catalog#: jw096
Format: CD, Album; Country: Germany - Released: 25 Jan 2011
Style: avant-garde, free improvisation, Contemporary Jazz, Free Jazz
Recorded live at Jazzclub Karlsruhe on June 5th, 2008 by SWR2.
Artwork – Beatrix Göge, Jorgo Schäfer
Engineer – Alfred Habelitz, Matthias Neumann
Executive-producer – Ulli Blobel; Liner Notes – Christoph Wagner; Mastered By – Reinhard Kobialka

Hübsch s group is a German avant jazz supergroup that plays complex music at a meeting point between improv jazz and new music. Through the use of avant-garde and self-invented performance techniques, the tuba acquires completely new characteristics as a brass instrument.


Whither avant jazz in the waning years of the aughts? It's a tough question and the attempts at extending its great lineage are often problematic and sometimes result in a bit of head-scratching. Depending on one's frame of reference, a possible source of an especially wide shadow of influence is Anthony Braxton. All well and good, but there's a line between influence and over-emulation; to these ears, Hübsch largely finds himself on the wrong side of that marker.

This Braxton leaning is leant even more weight by the presence of clarinetist Frank Gratkowksi, an extremely able player whose own work is also much indebted to him. With the leader on tuba, the quartet is rounded out by the always-fascinating Axel Dörner (trumpet) and Michael Griener (drums), forming a nice three-horns plus percussion grouping that certainly lends itself to the intricacies of the pieces. Right from the get-go, on "Floater, Gesten Part 1", we're in Braxton territory, a bubbling start/stop theme that nods to Tristano-era bop while pointing outwards. It's just very hard not to hear it as an augmentation of, say, a Braxton/Lewis/Leo Smith/Altschul ensemble — the sonorities and approaches are quite similar, which isn't to say "bad", not at all, just a little odd in the overt referential character at such a late date. One could ask, "Why bother?" no matter how effectively the task is handled. And it's all done very well, to be sure. There's a fine nimbleness in play here, especially from Gratkowski and Dörner, who handle the jagged written lines with ease and grace and inject a decent amount of grit and spittle into what could easily have been a far more "clean" operation. Track three, "Vier", even strays into march territory, again causing one to wonder if you're in 1976.

The final cut, "Solist am Rand", ventures the furthest from the Braxton comfort zone and is, unsurprisingly, the most successful offering, a broad palette of breath tone lamina over skittering drums that pulsates with a life of its own that owes little to obvious precursors; one wants to hear much more in this direction. Elsewhere...well, I imagine there are Braxton aficionados who are quite happy with hearing replications of his ideas by the next generation of instrumentalists and those listeners will doubtless be well pleased by what's contained here, as engagingly and efficiently as it's served up. But those who value the great Chicagoan's creativity and advancement of new ideas might wonder why musicians who admire him so don't try to do the same thing instead of imitating him.

_ by Brian Olewnick, 2011-05-11


Axel Dörner born 1964 in Cologne, 1988-89 studied piano at the Conservatory of Arnheim (NL) 1989-96 studied piano and trumpet (with Malte Burba) at the Academy of Music in Cologne. Has lived in Berlin since1994. Has worked together with numerous musicians of international import in the areas of improvised music, new music and jazz. He developed an exceptional, very personal style of trumpet playing, based partly on rare techniques mixed with his own inventive style.

Frank Gratkowski, Born in Hamburg, 1963. æAlto saxophone, clarinet, bass clarinet, contrabass clarinet, flute, composition Studied at the Hamburg Conservatory (Hamburger Musikhochschule) at the Cologne Conservatory of Music with Heiner Wiberny, graduating in 1990. Further studies with Charlie Mariano, Sal Nistico and Steve Lacy. Soloist in various international formations (Musikfabrik NRW, Tony Oxley Celebration Orchestra, Bentje Braam, WDR Big band etc.). Solo performances throughout Europe, Canada and USA. Duo w/Georg Graewe (CD "VicissEtudes"). "Frank Gratkowski Trio" w/ Dieter Manderscheid, Gerry Hemingway, +Wolter Wierbos. Duo w/ Sebastiano Tramontan, Trio w/ Wilbert De Jode + Paul Lovens.. Frank Gratkowski played on nearly every German and on numerous international Jazz Festivals. He has been teaching saxophone and ensembles at the Cologne, Hannover and Berlin Conservatory of Music and is giving workshops all around the world as well.

 Michael Griener moved from Nürnberg to Berlin some years ago and since then is one of the most demanded drummers for all cases. Played with traditional heroes like Herb Ellis, radikal players like Barry Guy, stars of the Berlin scene like Axel Dörner or sound explorers like Zeena Parkins. He proofed to be the perfect player for all oppourtunities as he understands to play the most special idea in his very own way finding the right balance between his own play and the given context. His selftought stile merging flow and fragility is unique as well as his coolness. Eric Mandel for the program of Jazz Fest Berlin `99.

Carl Ludwig Hübsch, tuba, composition drum- and singing studies Freiburg, south Germany, classical tuba training. Studies in improvisation, tuba (H.Gelhar) and composition (J.Fritsch) in Cologne. Played Jazz-, Improvised or New Music with Lester Bowie, W. Breuker, M. Schubert, Frank Gratkowski, Jasper vanÇt Hof, Arthur Blythe a.m.o. Numerous radio- und CD-produktions. Composes music for theatre . Toured India, Namibia and the USA. 2002: OMI fellowship in the USA. 2003: "Jazzpott"-award Essen.

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Sunday, November 11, 2012

KAUFMANN, GRATKOWSKI, de JOODE – Unearth (Live - 2004)

Label: Nuscope Recordings - nuscope CD 1016
Format: CD, Album; Country: US - Released: 2004
Style: Free Improvisation
Recorded in Köln, Germany on September 28, 2004 at the LOFT 
Mixed in Köln, Germany on November 13, 2004 at Maarweg Sudios
Mastered in Cleveland, Ohio on Decembr 15, 2004 at the Cleveland Institute of Music
Recorded By, Mixed By – Wolfgang Stach
Design – Russell Summers; Painting [Cover] – Gabriele Guenther

On September 28th, 2004, pianist Achim Kaufmann, reedist Frank Gratkowski, and bassist Wilbert de Joode performed this marvelous session at the LOFT in Koln, Germany.
This release features an 8-page booklet with liner notes from Montreal-based journalist Marc Chenard, and very original cover art from Achim Kaufmann's wife, Gabriele Guenther

Excerpts from reviews:

According to journalist Marc Chenard, "Call them spur-of-the-moment pieces if you will, or instant compositions, these essays in spontaneous music are outgrowths of a collective playing experience. Since its inception almost three years ago, this unit has criss-crossed Europe on more than one occasion, one of its tours yielding enough material for a first recording on the Berlin-based Konnex label, a disc entitled Kwast.
In this follow up release, pianist Achim Kaufmann, reedist Frank Gratkowski and bassist Wilbert de Joode have succeeded in meeting one of the prime challenges of improvised music, i.e. of achieving a very different sounding set of music than in its previous effort. In Unearth, these musicians focus more so on discursive strategies, whereas its predecessor emphasized timbral explorations."

Bruce Gallanter of the Downtown Music Gallery says, "This is an extraordinary trio that had a superb disc out last year on the Konnex label. With instrumentation similar to the classic Jimmy Giuffre Trio (clarinet, piano & bass) from the mid-sixties, this current trio updates Giuffre's chamber-jazz sound in different ways. If this music is mostly improvised, it certainly doesn't sound like it. It is much closer to the restraint, thoughtfulness and sublime balance of contemporary classical music, than most modern jazz. At times it difficult to tell the bowed bass from the bass clarinet and the rubbing of objects inside the piano also comes from a similar sonic section. Pieces often move in slow motion so that the combined sounds can move and explore together, between space and suspense. Even when they start to swing more quickly, they always sail together as one solid force, no matter that they are still free at times. Like all releases on the consistently great Nuscope label, the production and balance is perfect, a marvel of warmth and attention to detail in just the right studio."

According to David Dupont in Cadence magazine, "Gratkowski, Kaufmann, and de Joode demonstrate on Unearth the kind of close listening needed to create a unified collective sound. Often that means they moderate the volume of the music, forcing the listener either to fade out of the proceedings or, if they're serious, to focus more intently on the musicians' interactions...For this trio, the musical poetry is found in the sawing song of de Joode's bass, the breathy tones of Gratkowski's horns, (and) the splashes and plinks of Kaufmann's piano. To draw on the rhetoric of the session's titles, it all has its own kinky logic, yet nothing seems remotely connected to any textbook."

See also on youtube video link: live at BIMhuis Amsterdam - excerpt
Live in "Pianolab.Amsterdam in BIMHUIS" 24.feb.2010
Achim Kaufmann - piano, Wilbert de Joode - bass, Frank Gratkowski - reeds

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Thursday, November 8, 2012


Leo Records – CD LR 472
Format: CD, Album; Country: UK - Released: 2006
Style: Free Jazz, Free Improvisation
Recorded in Spring 2005 in An Tobar, The Tobermory Arts Centre on the Isle of Mull
Producer [Recording] – George Burt, Gordon Maclean, Raymond MacDonald
Recorded By – Gordon Maclean; Painting – Ivo Perelman; Design – Lora Denis


Not many albums begin their journey towards completion by celebrating a town clock. Keith Tippett is the Sextet’s featured guest for this recording, having made his lengthy and winding way northwards to the Isle of Mull, where stands the town of Tobermory’s ticking time-piece. Booklet scribe Brian Morton will fill you in on the convoluted conceptual background to these pieces, but only after making a purchase of this disc. It’s good reading, but is certainly not needed to appreciate the music’s ever-shifting abstractions.

The opening “Rude Dwellings” is afire, and this flare-up will not diminish during the album’s entire progress. The band are vigorous and tensed, tightly contracted for maximum impact, feverishly burning to play. Tippett’s rolling runs wend their prepared-key way, barrelling through Alyn Cosker’s crashing drum strafes. George Lyle’s upright bass is so forcefully struck that it has the hardness of and electric axe. “Glen Eyric” goes for building suspense, as-droves of bruised tunes flee hither and thither, amidst a groaning and grinding suspension of tension. There’s a shift of tone again, as “Ito’s Vanity” has Burt playing like Derek Bailey, fresh out of his dance band days, with melodica chills courtesy of Nicola MacDonald. The space is open, as Raymond MacDonald sends out flurries of burred lowness. He remains at the forefront for “Mr. Dolphin’s Gig , his jabbering issuances not pausing for breath.

This sextet knows all about variety. They’re not averse to a premeditated tune, either. “The Forgotten Croft” is a crabbily melodic roll, and then a few numbers later Nicola MacDonald turns in a vocal float, lending further planned structure. These are radically differing soundscapes, all delivered with great emotional intensity and a strong sense of the importance of the moment. Risks have been taken, and the Sextet plunge and rise between Hades and Heaven, grinning madly all the time.

_ MARTIN LONGLEY, Jazz Review, December '07

BAND - History

George Burt and Raymond MacDonald are the leaders of the Burt MacDonald Quartet. The band is a jazz-based outlet for their compostions, their songwriting, their arrangements, and their guests.

George and Raymond first came across each other in the Bill Wells component of a Brian Wilson tribute gig. The tune was “ Wind Chimes ” , and in the mind of Bill this meant a dozen musicians distributed all over the club playing tiny fragments of the tune while Raymond did one of his mad solos over the top.Raymond used to come along to George ’ s free improvisation workshops, and they got the idea to form a duo to play standards with some of the freedom of the free stuff. They never got there, and years later Derek Bailey showed them how to do it with his “ Ballads ” album, but it was fun doing it, and we also gigged as a trio with the fantastic Sophie Bancroft.

The late Lindsay Cooper had a wonderful band at that time with Allan Pendreigh on drums, Robert Henderson on trumpet and John Burgess on tenor. They used to do their gigs with “ guests ” . It was a tabla player one time and George as narrator of Lindsay ’ s long poem “ A Madman ’ s Guide to Music ” another. Tempers could get a bit frayed in that band at times… We were getting a bit tired of the duo/trio format, and we got Lindsay and Allan as our rhythm section and started playing pub gigs. A lot of these were in the west on Sunday lunchtimes, and Lindsay was an Edinburgh musician. This was when George Lyle joined us, and it stayed like that for nearly six years until Allan retired in 2004. Sophie ’ s own career was revitalised by two excellent records, and Nicola MacDonald eventually joined us. She ’ s a songwriter and record producer, and has some of Sophie ’ s lightness of touch as well as a pop musician ’ s concern with melody. We made a record called Oh Hello at about this time made up of songs and tunes we ’ d written for the pub gigs as well as the occasional hang-over from our previous bands. A similar batch of stuff made up Big Brothers. We financed these by saving up money from the pub gigs. We strongly recommend this process to young musicians … and old musicians too.

In between times we got the opportunity to travel and take our music further a field. (Eg Texas, Shetland and Oxford). These trips, along with the first two CDs, were real milestones in the band's early development and were came out of each of these projects with new ideas and plans.
George met Lol Coxhill at a duo gig with Pat Thomas as part of the Glasgow Jazz Festival gig, later released on CD as One Night in Glasgow. He took the cds and tapes we offered, and said “If I like them I’ll give you a call, and if I don’t you’ll never hear from me again”.

He returned to Glasgow the following year for a couple of gigs, and we recorded Tsunami in an afternoon. We repeated the process with Coxhill Street the next year, and Popcorn the year after that. These are basically records of free improvisation, although Aileen Campbell ’ s popcorn machine imposes a structure on some pieces. The goal of combining the two approaches is still there, though and we had another go using studio technology on Hotel Dilettante, which was recorded a couple of years ago and released by the Textile label in 2005. This gave us a chance to play at the famous Les Instants Chavires club near Paris where Lol recorded his immortal version of “ Falling in Love Again ” for Winter & Winter. Working with Lol has had a huge positive impact on the band in so many ways.

While all this was going on we got involved with whole lot of other people in setting up and running of the Glasgow Improvisers ’ Orchestra. But that ’ s another story.In 2005 we not only got to work with Harry Becket but we spent a week on the Isle of Mull at the wonderful An Tobar (say “ unTOE-pur ” ) Arts Centre recording a new set of songs with Keith Tippett. We had played with Keith at the CCA in Glasgow late in 2004 which was very well received so we were really keen to work with him again. This CD was released on An Tobar ’ s own label, TOB Records, and is called A Day for a Reason. And that ’ s you up to date. There will be more….

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Monday, November 5, 2012

HESSION, WILKINSON, FELL – Two Falls & A Submission (2010)

Label : Bo'Weavil Recordings - weavil44cd
Format: CD, Album; Country: UK - Released: 2012
Style: Free Improvisation
Recorded 31 March 2010 at The Queen's Head, Monmouth, Wales
Composed By – Alan Wilkinson, Paul Hession, Simon H. Fell
Design, Photography By [Image Manipulation] – Damien Beaton
Engineer – Sean McGowan; Painting – Gina Southgate


The trio of Alan Wilkinson on alto and baritone saxophones, Simon H. Fell on double bass, and Paul Hession on drums first came together to play improvised music in 1989, releasing their first album, Bogey ’ s (Bruce ’ s Fingers) in 1991. Two Falls & a Submission was recorded in Monmouth, Wales, in March 2010 during their reunion tour of the UK to mark their 21st anniversary.

In their heyday in the ’ 90s, the threesome was an awesome prospect both live and on disc; all three played with the kind of wild freedom that had characterized ’ 60s free jazz (yes, jazz, not improv) but had not been heard much since. Around 2000, after the release of St. John ’ s on the Ecstatic Peace label (proprietor Thurston Moore was a fan), they went their separate ways. When their 2010 reunion tour was announced, many wondered if the three would still generate their former fire.

They need not have worried. Right from the first notes of the opener, “ First Fall, ” the years fall away as all three simultaneously hit top gear in a bravura display of high-energy improvisation. Wilkinson immediately grabs the limelight, straight away playing with a raw intensity that other saxophonists might hit once a night; for Wilkinson, that is the baseline from which he then builds. Alternating between saxophones, he solos relentlessly, keeping a seamless barrage of phrases flowing from his horns. When he does intermittently pause from blowing, he is likely to pour forth improvised, wordless vocals with as much gusto as he plays.

It seems entirely appropriate that Two Falls & a Submission takes its title from the parlance of all-in wrestling. Hession and Fell never act as support players. Throughout, the drummer matches Wilkinson ’ s intensity, never letting the pace flag so as to keep the pressure up. At times it sounds as if he and Wilkinson are involved in a one-on-one duel to see who will crack first; of course, neither of them does. For his part, Fell stokes the fire with his own propulsive phrases, constantly driving things forward and holding them together. The end result is an amalgam of three equal contributions that fit together perfectly; the absence of any one of them would make the whole feel incomplete.

Even when the three move down a gear — as they sometimes must, given the relentless pace they set — they still retain all the qualities that make this trio special: intensity, togetherness, equality. Awesome stuff.

_ By John Eyles (DUSTED REVIEW)
   date: Jan. 24, 2012

Excerpt from:
Ian Mann on the music of the extraordinary improvising saxophonist Alan Wilkinson

..." I’ll admit that I don’t always find improv the easiest of genres to get on with, I like the idea of it but don’t always find it easy to listen to, particularly on record. However it is thrilling to watch the process live, the thinking in the moment, the visual impact of extended instrumental techniques, the things that can’t always be appreciated on radio broadcasts or on album. Wilkinson initially requested that I cover “ Practice ” , an album of solo saxophone improvisations but I suggested that as a relative novice to the genre I might get along rather better with this. Good move. It’s satisfying to find an improv record I can really identify with, partly the result of having witnessed the members of the trio live (particularly the extraordinary Wilkinson, I’ve never heard another saxophone player quite like him) and partly the resonance that comes from the recording being located at the Queens Head.
Another analogy often used to describe the improv process is “ painting pictures in sound ” and there’s a certain irony in the fact that Wilkinson trained as a painter completing a Fine Arts degree at Leeds University before turning to music. Art’s loss was surely music’s gain.
Recommended, but not for the faint-hearted."

by: Ian Mann, Friday, May 18, 2012

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Friday, November 2, 2012

RUF DER HEIMAT – Sehnsucht nach Theo - Live (2006)

RUF DER HEIMAT - Recorded live, Juliy 2006
Dienstag, 04.07.2006, 21.00 Uhr  (I think, but..?)
Jazzclub Tonne, Königstraße 15, 01097 Dresden
Design by ART&JAZZ Studio
Artwork and Complete Design by Vitko Salvarica
Free, creative music - highly energetic and very sensitive

A legend lives again: 

After a few years of break, the quartet RUF DER HEIMAT was reorganized in 2003. In the original cast of Thomas Borgmann and Ernst-Ludwig Petrowsky the saxophones, Christoph Winckel on bass and drummer Willi Kellers they gave in Berlin and elsewhere enthusiastically received concerts, and then went back on tour. As if nothing had happened, but better than ever.

The quartet was founded in 1992, initially only with Petrowsky as second saxophonist, then a few years reinforced with Peter Brötzmann, or ever again. Formation in the enlarged with Petrovsky and Heinz Sauer In between there were also tours with Charles Gayle, Roy Campbell, John Bauer and Olaf Rupp.

Ernst-Ludwig Petrowsky is considered one of the fathers of jazz in the GDR. He coined here much since the mid-50s whose development. Unique profile he developed in groups such as "Synopsis" and "Zentralquartett" and as a member of numerous international top ensembles, such as the "George Gruntz Concert Jazz Band" or the "Globe Unity Orchestra". Petrovsky is awarded the German Jazz Award 1997 - Albert Mangelsdorff price.

Thomas Borgmann is the founder of "Ruh Der Heimat" and is actually a conservative. He belongs to the narrow portion of a generation progeny that preserves the legacy of those who in the sixties - inspired by Ornette Coleman, Don Cherry and others -. Interspersed demanded radical expressions in jazz, and this attitude is far from the end are "(Eric Mandel). His many years of work in a trio with Wilber Morris & Denis Charles and (after the death of Charles) Reggie Nicholson 'BMN' than many others his various collaborations with musicians such as Borah Bergman, William Parker, Peter Brötzmann, Roy Campbell, Thurston Moore has been extensively documented on CD's or presented at numerous international festivals. He is one of the most active and most sought after saxophonists on the scene.

Willi Kellers studied music at the Universities of Münster and Detmold. He worked as a composer at theaters in Bochum and Cologne, Basel, Hamburg, and at the Burgtheater in Vienna. Heard he was Luten at numerous concerts and tours with Peter Brötzmann, Tony Oxley, Frank Wright, Willem Breuker, Albert Mangelsdorff, Peter Kowald, Keith Tippett, Lol Coxhill, Marylin Crispel, Manfred Schoof, Fred Frith, Charles Gayle, Cecil Taylor, Petrovsky, Barre Phillips and many others

Christoph Winckel: considered to be the most stubborn and powerful bass in the whole of Germany, a free player, but with tremendous swing. In the former East Germany he was one of the busiest musicians, made in the 90's then a lot of theater work (including Hamburg, Bochum) and tours in the Charles Gayle Trio, with Phil Minton or Peter Brötzmann Trio.

Excerpts from reviews:

Stuttgarter Zeitung : "... Petrowsky responds to Borg's distinctive tenor voice in his way: a highly energetic and very empathetic. The drummer sparked real thunderstorm. The roaring sound suddenly fades thunderstorms that drum brushes sound like rain, and the woodwinds close your eyes, be very lyrical and lined a pastoral harmony to the other. Free music that reveals its beauty not lightly ... "

Weser-Kurier : [The concert] "... ends in a monumental noise soundscapes. Free jazz of the highest quality offered to the audience. Alluring tones use cookies inroads suddenly go completely to mimic in their game and offer jazz fans an incredible experience creative and experimental game. A performance that had earned a huge applause".

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