Wednesday, September 24, 2014

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.

Buy this album!

Saturday, September 20, 2014

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)


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:

I ask for understanding. Regards. Vitko

If you find it, buy this album!

Friday, September 19, 2014

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.

If you find it, buy this album!

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

Buy this album!

Thursday, September 11, 2014

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!

Monday, September 8, 2014

FIRST MEETING – Cut The Rope (Libra Records 104-025)

Label: Libra Records – Libra 104-025
Format: CD, Album / Country: Japan / Released: Jan 2010
Style: Free Jazz, Avant-garde Jazz
Recorded at Pit Inn, Tokyo, June 17, 2009.
Artwork – Ichiji Tamura
Composed By – Natsuki Tamura
Design – Masako Tanaka
Photography By – Miho Watanabe
Recorded By, Mixed By, Mastered By – Naoto Araki

First Meeting is:
Natsuki Tamura – trumpet
Kelly Churko – guitar
Satoko Fujii – piano
Tatsuhisa Yamamoto – drums, percussion

... Cut the Rope sounds unlike any other album Tamura has made. Conventional melody and structure take a back seat to fragmentation, textural and timbral explorations, and rapid-fire juxtapositions that create kaleidoscopic sound collages. Each track on this completely improvised CD is complex, but purposeful. The improvisations sound complete and organic because the careful listening, expert judgment, and musicianship of the band members shapes the music...

Trumpeter Natsuki Tamura creates a vast expanse of sound on Cut the Rope, the first album recorded with his band First Meeting. Nothing is predictable on this wholly improvised album that ranges from aspects of a vision of being marooned on a desolate soundscape to the musicians ultimately finding their way into a melodic river of sound, after at first coming perilously close to losing all sense of direction. But Tamura is an expert guide: he wields his horn like a sonic standard bearer, guiding his improvising crew from opening figure to group improvisation and back to a resolution, despite traversing some of the most varied paths in song.

Tamura bleats, howls and snorts his way through dune-like structures, disturbed only by the drone of guitarist Kelly Churko's incessant scratching and wild ramblings via acoustic feedback and pedals of every kind. In the absence of a bassist to anchor the expedition, drummer Tatsuhisa Yamamoto devises various signature rattling figures on snare drum and tom-toms, allowing only so much chaos to enter the proceedings as to create just a ripple—not enough to detract completely from the organized chaos of the track. Tamura's wife, pianist Satoko Fujii, completes the quartet, providing oblique angles to each piece.

On the title track, Fujii uses a prepared form of the instrument, manipulating strings and pedals to create a shimmering resonance that allows the track to swing tremulously, as the rest of the musicians soar unfettered to improvise and fantasize. On "Headwaters" Fujii plays a fanciful folksy figure almost throughout, anchoring the piece in a bleak, yet peaceful place, so the musicians are forever guided by the myth of tradition. Churko sets fire to "Flashback" with hot slashes, while Tamura seemingly fans the flames of the proceeding elements. Fujii, once again, appears to play an anchoring role harmonically, as Yamamoto's rhythmic invention calls for him to join the improvisation as well. "Kaleidoscope" possesses a swirling structure, with Churko drawing from folk melodies, as Tamura and Fujii reference everything from the diatonic rambling of warrior bugling, and the suggested serialism of Schoenberg, to the shattering figures reminiscent of Stockhausen and Boulez. Tamura brings this exciting set to a close with "Sublimation," but not before stirring the still waters enough to create a generous ripple, into which all the other musicians dive ostensibly on cue.

The is a short, eventful set expertly construed by Tamura, where brilliant sound collages are erected with architectural expertise and a subtle elegance. Fujii, Yamamoto and Churko contribute more than simply color; their ideas are integral to the collisions that ensue, when four improvising musicians meet with heads full of suggestions for a sonic journey full of surprises.

_ By RAUL D'GAMA ROSE, Published: August 27, 2010 (AAJ)


Buy this album!

Thursday, September 4, 2014


Label: Crown Records – JAW 2001 - 2
Format: 2 × Vinyl, LP, Album / Country: Japan / Released: 1975
Style: Free Jazz, Free Improvisation, Contemporary Jazz
Live / Recording-Date : April, 28. 1975
Recorded At – Koseinenkin Kaikan
Mastered At – Crown Record Studio No. 1
Record Company – Crown Record Co., Ltd.

A - Duo (Introduction) . . . 19:45
B - Chiasma . . . 18:16
C - Up-To-Date . . . 19:51
D - Up-To-Date . . . 21:20

AKIRA SAKATA – saxophones

YOSUKE YAMASHITA TRIO – Up-To-Date, 2LP on Crown Records. Very rare vinyl record Japanese Free Jazz, timeless good, a volcano of energy, a masterpiece.
Live - April, 28. 1975. Brutal and feverish Japanese free jazz bomb. The trio is in top form.


If you accidentally missed it, I recommend also:



If you find it, buy this album!