tour financed in part with “tens of thousands of dollars” from Vandermark’s MacArthur grant kitty. For this show the regulars will be joined by trumpeter Roy Campbell and bassist William Parker it’s the culmination of a high-profile eight-date U.S. The Tentet combines its multilinear improvisations with loose but propulsive riffing and predetermined combinations of instruments, making the music slightly more predictable–but there’s always a threat of lightning in Brötzmann’s blackened skies. The latest document of the group is Stone/Water (Okka Disk), a blistering 38-minute set recorded last May at Canada’s Victoriaville festival, and it’s an even sharper exploitation of the possibilities of large-scale improvisation. This outfit’s rapid and exciting development was captured in 1998 on the ambitious three-CD box The Chicago Octet/Tentet (Okka Disk)–over the course of the set you can hear the nascent knock-down power harnessed into a precise attack. In 1997, Brötzmann decided to try again, this time with Chicago improvisers Ken Vandermark, Mars Williams, Kent Kessler, Jeb Bishop, Michael Zerang, Hamid Drake, and Fred Lonberg-Holm eventually two other out-of-towners, Swedish reedist Mats Gustafsson and Poughkeepsie multi-instrumentalist Joe McPhee, were recruited as well for what became a semiregular gig. On the explosive octet session Machine Gun in 1968, on the 1984 clarinet summit Berlin Djungle, and on the 1992 guitar-sax squall The Marz Combo, he attempted to balance volcanic solos, feverish group interplay, and some rough organization, but chaos usually won the day.
THE PETER BROTZMANN OCTET FREE
If there is one Peter Brotzmann record to own, this is it if there is one European free jazz record to own, this it.Although he favors small groups, German free-jazz reedist Peter Brötzmann has from time to time arranged to play his visceral, occasionally violent music with a whole bunch of people. Originally released on Brotzmann's own Brö imprint, Cien Fuegos has remastered the original album and lovingly presented it here on this limited, 180 gram reissue. The octet is rounded out by several other players who would form the foundation of the European free avant-garde: Fred Van Hove, Peter Kowald, Sven Ake-Johansson, and Buschi Niebergall. One of two drummers in the group, Han Bennink loudly declares his intent to push free percussion in a direction unique from his American counterparts, Murray, Graves, and Ali. Find the latest tracks, albums, and images from.
There are even hummable themes, however brief they may be. Listen to music from The Peter Brtzmann Octet like Machine Gun, Responsible / For Jan Van De Ven & more. Machine Gun is not all volume, though: there are passages of silence and chilling hints of space between barrages of instrumental fury. Noise artists for generations to come would give everything to be half this abrasive. Even today, so many years after this was captured to tape, it's still startling, and still brings to question any ideas you might have about what could be considered "jazz." Yes, American fire music players had broken countless barriers earlier in the 1960s, but nobody had ever really sounded like this before. Machine Gun opens with a deafening blast of pure sound, a pummeling broadside of Brotzmann, Evan Parker, and Willem Breuker's saxophones. Peter Brotzmann's second release as a leader, this was the album that firmly established his voice as a performer and an improviser, defined what would become the FMP aesthetic, and truly distinguished European free-music from its American counterpart. he was born 6 march 1941 in remscheid, germany.
profile: german free jazz saxophonist and clarinetist. shop for vinyl, cds and more from peter brtzmann octet at the discogs marketplace. 2018 marks the 50th anniversary of Machine Gun's release, but it's still just as shocking and powerful a record as ever, a stunning and bewildering listen from beginning to end. Explore releases from peter brtzmann octet at discogs.
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