#alexander von schlippenbach

[dustedmagazine]

Rodrigo Amado The Bridge — Beyond The Margins (Trost)

Sonny Rollins named The Bridge after the Williamsburg where he practiced during a three-year long retreat from public performance that he undertook in order to secure his chops. Rodrigo Amado did not engage in any sabbatical so lengthy before he put together this quartet, but its formation still reflects the pursuit of artistic growth. The amount of experience around him is so formidable that just dropping their names — Alexander Von Schlippenbach, Gerry Hemingway, Ingebrigt Håker Flaten — speaks volumes. This is what someone does when, like Rollins, they don’t just think about riding the present wave of fortune. They’re in it for the long haul.

One might apply that description to the music that Schlippenbach has played with his legendary trio, or Hemingway did in his diverse partnerships with Anthony Braxton and Reggie Workman, or that Håker Flaten has in the never-ending story that adds a new chapter every time he takes a stage with Paal Nilssen-Love. It’s music that builds upon itself, applying knowledge acquired over decades of return engagements.

One might also, in a different way, apply that description to the music on this record. Recorded in concert at Pardon Tu Tu, in Warsaw, it’s a study in the practice and payoffs of building a performance on an elongated timeline. The title tracks lasts just over 40 minutes, during which the musicians declare allegiances, explore contrasting territories and build to several escalating climaxes. As remarkable as the peaks is the way the ensemble eases away from them each time, taking the pressure down so that the music never exhausts itself. The two pieces that follow are relatively brief, not quite eight minutes each, and their compactness makes them feel like gradual resolutions of that grand main act.

But this music rewards at the micro as well as macro levels. At any given moment, Håker Flaten and Hemingway can each be heard orchestrating contrasting vectors of energy that surge and shake, but never break, the performance’s rhythmic foundation. Schlippenbach interjects both professorial reminders – “don’t forget the Monk, lads” – and door-opening actions that can turn the action around in a moment. Amado remains true to his fundamentals, drawing out muscular lines and dipping into lyrical asides. But he also draws sustenance from the forces swirling around him, blowing with spectacular intensity and poised restraint, each phrase as compelling as the developmental arc it supports.

Bill Meyer

#rodrigo amado #the bridge #beyond the margins #trost #bill meyer #albumreview #dusted magazine #jazz #Alexander Von Schlippenbach #Gerry Hemingway #Ingebrigt Håker Flaten

[shihlun]

Peter Brötzmann & Alexander von Schlippenbach relaxing on the beach 

#peter brötzmann #alexander von schlippenbach #peter brotzmann #free jazz #fmp #beach

[noloveforned]

no love for ned is on wlur tonight from 8pm until midnight (or so!) with a very special show celebrating the music of the german artist and musician peter brötzmann, who passed away this week at 82.

still no solution to embed the show within the tumblr page but last week's show (below) has been posted to my mixcloud page for you to stream. i'm slowly putting all my older shows up there as well, so feel free to favorite us over there as well!

no love for ned on wlur – june 16th, 2023 from 8-10pm

artist // track // album // label north of america // built sought destination // these songs are cursed // matlock helta skelta // autodidact // nightclubbin' 7" // deranged doe st. // blue and white // stepping stones // legless alicja-pop // don't say no // howlin' // black and wyatt prc // last cig // elastic time // blue mind the crystal furs // gay bar // (bandcamp mp3) // (unreleased) smirk // bored by everything // 7" ep // under the gun supercrush // i've been around // never let you drift away // debt offensive helen love // shifty disco girl // steve lamacq session on september 16th, 1998 10" // precious tough age // paradise by another name // waiting here // bobo integral rvg // tambourine // brain worms // fire julia jacklin // shivers // shivers digital single // polyvinyl ramona and the holy smokes // i honky tonked too hard last night // i honky tonked too hard last night ep // (self-released) matthew j. rolin // tilt // (bandcamp mp3) // (unreleased) shannon lay // close my eyes // covers, vol. 1 // sub pop jordan perry // what do you see every day? // what do you see every day? // feeding tube roomful of teeth // the isle part ii- ariel // rough magic // new amsterdam aki takase and alexander von schlippenbach // apple of discord // four hands piano pieces // trost gerrit hatcher // language brain // solo five // kettle hole roman norfleet // a vessel // roman norfleet and be present art group // mississippi janelle monáe // lipstick lover // the age of pleasure // bad boy maxo featuring liv.e // both handed // even god has a sense of humor // def jam baby rose // love bomb // through and through // secretly canadian domo genesis featuring evidence // victories and losses // intros, outros and interludes // bigger picture lord jah-monte ogbon and navy blue // where are you? part two // beautifully black // rrc music che noir featuring d-styles // quiet moves // noir or never // poetic decisive pink // ode to boy // ticket to fame // fire yours are the only ears // dreamer // we know the sky // lame-o suki waterhouse with belle and sebastian // every day's a lesson in humility // to love 7" // sub pop the softies // see me through // pacific nw tour 2023 split cassette w/ tony molina // speakeasy studios sf eggs on mars // never c // warm breakfast // (self-released) your heart breaks // new york // new ocean waves // plan-it-x magic kids // hey boy // hey boy 7” // goner

#wlur #radio shows

[francoiscarrier]

Unwalled, by Francois Carrier / Alexander von Schlippenbach / John Edwards / Michel Lambert now available here @ https://sluchaj.bandcamp.com/album/unwalled #jazz #freejazz #improvjazz #saxophone #drums #piano #bass #alaeaxdervonschlippenbach #michellembert #johnedwards #jazzlabel #poland #montreal #london #berlin @lukierwdziegciu @lucienlecoquin https://www.instagram.com/p/CmJ0__GrtPh/?igshid=NGJjMDIxMWI=

#jazz #freejazz #improvjazz #saxophone #drums #piano #bass #alaeaxdervonschlippenbach #michellembert #johnedwards #jazzlabel #poland #montreal #london #berlin

[zappak]

p.o.p. (psychology of perception) [Alien Stewardess]

Release date: February 01, 2024 Catalog no. zappak-008

[Tracklist]

[Disc 1]

celestial cabaret [09:55]

cosmic concierge [26:27]

intangible vibrations [30:41]

[Disc 2]

galactic grace [20:06]

transdimensional melodies [20:42]

Excerpt: https://soundcloud.com/zappak/zappak-008-1 https://soundcloud.com/zappak/zappak-008-2

Cello: Nora Krahl Electric bass: Hannes Strobl French horn: Elena Kakaliagou Piano: Reinhold Friedl

Recorded, mixed, and mastered by Hannes Strobl in 2023.

---

p.o.p. (psychology of perception) is the acronym of the Berliner group by Reinhold Friedl (piano), Elena Kakaliagou (French horn), Nora Krahl (cello), and Hannes Strobl (electric bass) stands for. “Alien Stewardess”, their third album, remains true to the subject, focusing on perceptual psychology and kinetic memory. “Alien Stewardess” is building on and deepening the research topics of the earlier releases: repetition and difference, like tapestry and woven carpet: patterns of similarity, rhythmic twists and varied timbres ("Täbriz", Monotype Records / 2013), and the exploration of sound architecture and the Japanese art of flower arrangement, selectively gathered materials in ever-changing combinations on "Ikebana" (FMR / 2016). “Alien Stewardess” concentrates on the question: What do the musicians' bodies know? Four individual musicians, each with his/her own sound and body memory, create a network of interferences and thus a multiplication of the sonic-kinetic perspectives: sensual, three-dimensional, organic. Let yourself be guided by the alien stewardess in and out of time and space! Enjoy the journey…

p.o.p.(psychology of perception/知覚心理学)はベルリン在住のReinhold Friedl(ピアノ)、Elena Kakaliagou(フレンチ・ホルン)、Nora Krahl(チェロ)、Hannes Strobl(エレクトリックベース)によるグループ。 彼らの3つ目の作品[Alien Stewardess]は彼らの主題に忠実であり続け、知覚心理学と運動記憶に着目し、これまで作品での研究トピックにもとづいて構成され、さらに深められている。タペストリーや織絨毯(類似性のパターン、リズミカルなひねり、そして多様な音色)のような反復と差異による[Täbriz] (Monotype Records / 2013)、そしてサウンド・アーキテクチャーと日本の華道芸術の探究(常に変化する組み合わせで選択的に収集された素材)による[Ikebana] (FMR / 2016)。 [Alien Stewardess]では以下の問いに着目している。それは、演奏家の身体は何を知っているのか、というもの。4名それぞれの演奏家自身のサウンドや身体記憶は干渉のネットワークを作成し、それによって官能的、三次元的、有機的な音の運動学的視点の掛け算をおこなうというもの。それでは宇宙人のスチュワーデスによるガイドに身をゆだねて、時間と空間の内外を行き交いましょう！素敵な旅をお楽しみください…。

---

p.o.p. (psychology of perception) members;

Reinhold Friedl

(Photo by Olya Gluschenko)

Reinhold Friedl, born 1964 in Badeo-Badeo, Germany, is an influential figure io experimental music, a pioneer of new physical sound qualities ranging from precise sensuality to noisy harshness: his Inside-Piano taught the instrument to sing, his internationally acclaimed ensemble zeitkratzer opened up new horizons for ensemble playing, from Xenakis to Lou Reed, from folk music to Stockhausen, not to mention young (non-academic) composers and numerous transdisciplinary collaborations including film projects. Reinhold Friedl's compositions go one better: orgies of sound for orchestra, noise choreographies for string quartet, recorded by Quatueur Diotima, extended techniques worthy of the name turning the solo piano into an orchestra. Friedl studied mathematics, composition (Mario Bertoncini and Witold Szalonek) and piano (Renate Werner, Alan Marks, Alexander von Schlippenbach) and released more than hundred CDs and vinyls. He holds a PHD from Goldsmiths University London and got commissions from international festivals as Wiener Festwochen, BBC London, the French state, Berliner Festspiele, ZKM, etc. and published numerous articles and radio features on electronic music. Touring worldwide. www.reinhold-friedl.de

Nora Krahl

Nora Krahl is literally all over the place: She lives in different parts of the country simultaneously, she plays cello, composes, improvises with electronics, with VR Glasses and motion tracking suits. And she also is a director for experimental contemporary opera. Her abundance of ideas forms the foundation for her art and improvisational music, characterized by multilayered textures and structures. Nora has performed throughout Europe, Middle East, Asia and in the USA with ensembles as Ensemble Resonanz, the Octopus, Reflexion K, Zeitkratzer or She She Pop. Nora premiered her pieces for music and theatre in Cloud City (NYC), Hamburger Bahnhof (Berlin) or Depot Gallery (Istanbul). Nora also loves Theater and worked as a cellist at Schauspielhaus Köln, Deutsches Schauspielhaus and Columbia University New York. She was awarded numerous scholarships and attended artist residencies in Istanbul, New York City and Basel. Ms. Krahl holds a German music diploma from the Folkwang University of the Arts and a Master io Opera directing from Hanns Eisler School of music Berlin. norakrahl.de

Hannes Strobl

Hannes Strobl is a bassist, composer and sound artist based in Berlin. An essential starting point of his music is the sonic potential of the electric bass guitar and the electric double bass. Hannes Strobl expands their characteristic repertoire of expression by using special playing techniques in combination with live electronics. In recent years, Strobl's interest in the instrument and his compositional work has increasingly focused on musical forms of expression against the background of urban sound space, as well as on installations whose starting point is the relationship between sound and architectural space Works io various audio and audiovisual fields, such as electronica, sound installations and music for video and performances. hannesstrobl.de

Elena Kakaliagou

(Photo by Cristina Marx)

Elena Kakaliagou, born in 1979, is a Greek-Austrian French-horn player and performer living in Berlin. Αfter her studies io classical music io Greece, Austria and Finland, and inspired by new, folk and experimental music, Elena developed her own language on the French-horn; lyrical and mellow, angry as a wild animal or a stormy sea, calm as the wind or the soft rain. Elena can be heard on more than 20 musical albums, among others the onces of her duo Nabelóse, her trio Zinc & Copper, a solo, and plenty of collaborations of free, experimental, composed and new music. She is an active member of the free improv scene of Berlin and plays with zeitkratzer and Stefan Schultze Large Ensemble, next to various new music ensembles. For infos about past and current collaborations, concerts, venues, festivals and stage performances of Elena, please visit her website to figure out more. www.elenakakaliagou.com

【Review】

Vital Weekly: p.o.p. (psychology of perception) is preferred in lowercase; I am not sure why you would write between brackets what p.o.p. stands for. Why not use one or the other but not both simultaneously? This is the CD that is not by Japanese musicians, and also to have more than two pieces of music, and is a double CD. I reviewed their ‘Tabriz’ CD in Vital Weekly 888 when p.o.p. was a duo of Reinhold Friedl (piano) and Hannes Strobl (electric bass). With their second release, ‘Ikebana’ (not reviewed in Vital Weekly), they were a quartet, adding Nara Krahl (cello) and Elena Kakaliagou (French horn). The information says, “Alien Stewardess”, concentrates on the question: What do the musicians’ bodies know? Four individual musicians, each with his/her own sound and body memory, create a network of interferences and thus a multiplication of the sonic-kinetic perspectives: sensual, three-dimensional, and organic. Let yourself be guided by the alien stewardess in and out of time and space! Enjoy the journey…” This is the sort of text that is too cryptic for me. It reads well, but what does it mean? As with the previous Zappak release, this is all very nicely improvised, albeit of a much different kind, but two discs spanning some 150 minutes of music is a bit much. In their common approach, they like their sounds to be close together, like an acoustic (almost, that is) drone, out of which small sounds pop (pun intended) up. Because their pieces are long, twenty to thirty minutes (except the first ten minutes), playing this music must sometimes be an endurance test, with full-on concentration. Each piece is like a massive and dense cloud; if you look closely, you’ll see the more minor changes. Maybe there is some chaos, too; if you listen closely, it seems as if not much of this makes much sense, and at the same time, there is that tranquil feeling, almost spacious music. Maybe it’s not strange to think of this music as a fruitful meeting of improvisation and modern composition. Great release, but very long. (Reviewed by Frans de Waard)

taz: Neue Musik aus Berlin: :Dunkle Materie, helle Signale Mit Radiovibes und Spieluhr in Richtung Zukunft: „Alien Stewardess“, das neue Album des experimentellen Ensemles P. O. P., ist ein Weckruf im Weltall.

Vom Webstuhl in das Weltall über den Wiesenklee, so ungefähr könnte man die Laufbahn von P.O.P. umreißen. Auf dem zwischen 2008 und 2013 entstandenen Debütalbum „Täbriz“ bezog sich das experimentelle Ensemble, damals ein Trio aus Reinhold Friedl (Piano), Hannes Strobl (Bass) und Hayden Chisholm (Altosaxophon), auf die Strukturen iranischer Teppiche. 2016 erschien „Ikebana“. Aus P.O.P. war ein Quartett geworden: Nora Krahl (Cello), Elena Kakaliagou (Waldhorn und Stimme), Strobl und Friedl spielten von der japanischen Kunst des Blumensteckens inspiriert. Für „Alien Stewardess“ sind sie unter die Sterngucker gegangen.

Die Doppel-CD umfasst fünf Kompositionen. „Celestial Cabaret“, mit zehn Minuten die kürzeste, macht den Anfang: Dunkle Materie, helle Signale, nach fünf Minuten setzt eine Spieluhrmelodie ein. P.O.P. gönnen sich auf dem Album mehrmals kurze, liedhafte Momente.

„Cosmic Concierge“ klingt in etwa wie die Radiostation, welche die kosmische Hausmeisterin auf Nachtschicht hört. „Intangible Vibrations“, eine ganze halbe Stunde, beginnt mit einem Hab-acht-Moment aus schrillem Piano-Interieur und dunklem Horn. P.O.P. ist ein Ensemble kühner Nuancen. „Galactic Grace“ könnte die große Ruhe nach dem Sternensturm sein; „Transdimensional Melodies“ entpuppt sich als Symphonie mit dem Paukenschlag, nur kommt der Weckruf vom Cello.

Dass jeder Titel auf „Alien Stewardess“ sich wie eine Krautrock-Hommage liest, kann sowenig Zufall sein, wie der Name des Quartetts: P.O.P. steht für Psychology of Perception. Wahrnehmungslehre trifft gut, worum es hier geht. (Reviewed by Robert Miessne)

Salt Peanuts: Alien Stewardess expands and distills p.o.p.’s focus on perceptual psychology and kinetic memory, and asks what the musicians’ bodies know. The quartet searches for labyrinthian, «transdimensional» sonic architectures that rely on subtle and elusive repetitions, idiosyncratic sonic-kinetic perspectives and some disturbing interferences, with brief melodic segments. p.o.p. weaves patiently and methodically these minimalist, almost ethereal architectures like a carpet, with delicate patterns of similarity and swift, rhythmic twists, and great focus on varied timbres, using an imaginative array of extended techniques. It sounds organic but very strange yet, surprisingly, sensual. Like being guided on a mysterious journey by a friendly alien stewardess. (Reviewed by Eyal Hareuveni)

Field Notes: Elena Kakaliagou (French horn), Hannes Strobl (electric bass), Nora Krahl (cello) and Reinhold Friedl (piano) are p.o.p., short for Psychology of Perception, and the album with the pleasantly enigmatic title »Alien Stewardess« for the Japanese label Zappak is only their third in just over a decade. The long wait since »Ikebana« from 2017 and the improv trio's rather sporadic appearances together is made up for by its running time, however: the shortest of the five tracks is ten minutes long, the longest just under 30 and the others clock in at over 20 minutes each. This can be explained by the fact that the four musicians take their project’s name seriously and allow their different perceptual mechanisms to intertwine. Their play is one of constant processing of and reaction to that of the other members, formulated less as answers than as questions: What is this doing to me, to you, to us? (Reviewed by Kristoffer Cornils)

SilenceAndSound: Le quatuor p.o.p (psychology of perception) constitué de Nora Krahl (violoncelle), Hannes Strobl (basse), Elena Kakaliagou (cor d’harmonie) et Reinhold Friedl (piano), compose une musique de croisements et de variations superposées. Alien Stewardess combine l’art de l’étrangeté pour brouiller les interférences constantes qui viennent perturber avec subtilité, la combinaison créatrice des quatre artistes. Les pistes sont un terrain de jeu, où les instruments s’évadent de leur vocation première, pour se transformer en formes singulières, avalanche de péripéties spectrales et d’ombres projetées sur des canevas de couleurs indéfinissables. p.o.p. (psychology of perception) accumule les directions sans chercher à s’éloigner d’une certaine fantaisie grimaçante aux allures hantées. Ici tout est jeu d’ombres, de grincements et de flottements, de temps étirés et de perte de repères. Fascinant. (Reviewed by Roland Torres)

Westzeit: Das dritte Album der Berliner "impro-supergroup" P.O.P. (PSYCHOLOGY OF PERCEPTION) heißt sehr treffend "Alien Stewardess" (Zappak) und erscheint auf dem dritten Label, auf Monotype (Täbriz von 2013) und FMP (Ikebana 2016) folgt nun die japanische Plattform Zappak - Nora Krahl (clo), Hannes Strobl (el.b), Elena Kakaliagou (frh) und Reinhold Friedl (p) verteilen ihre Gaben weitläufig. Was mich an dem auf 2 CDs verteilten 5-Viertelstunden-Monster besonders beeindruckt ist die klangliche und konzeptionelle Dichte, die die Vier mit vergleichsweise einfachen Mitteln erzeugen. Neben hallendem StörSpannungsKnuspern schweben da eigenartig geflochtene CelloSounds zu PianoPräparaten und Kakaliagous unverwechselbaren HornKnurren durch die Gehörgänge. Für den vollen immersiven Genuß erfordert das Ganze allerdings auch ein wenig Konzentration und Kontemplation. 5

#Bandcamp

[pqsounds]

Alexander Von Schlippenbach - Globe Unity - Berlin 1966

#youtube #live

[solocontenido]

Listen/purchase: Four Hands Piano Pieces by Aki Takase & Alexander von Schlippenbach

#bandcamp

[faunfestival]

FAUN ENSEMBLE: originální dílo norských a českých umělců

Festivalový residenční projekt je jedinečnou příležitostí pro vybrané norské a české umělce vytvořit pro festival FAUN zcela nové a originální dílo. Autory kompozice jsou Andreas Røysum a Radim Hanousek. Oba do ansámblu vybrali hudebníky, se kterými dlouhodobě spolupracují. Program bude připraven a nazkoušen k festivalovému provedení v rámci brněnské FAUN residence. Provedení tohoto díla zazní vedle faunovské premiéry i v norském Oslu.

Do FAUN Ensemble pozval Andreas Røysum tři významné představitele progresivní skandinávské scény. 

Naprosto originální saxofonistka a skladatelka Signe Emmeluth vede vlastní projekty Amoeba a Owl, skládá hudbu pro věhlasný Trondheim Jazz Orchestra a aktivně spolupracuje s takovými jmény jako Paal Nilssen-Love, Ole Morten Vågan, Han Bennink, Paul Lytton a Tony Buck.

Kontrabasista a výtvarník Christian Meaas Svendsen vede vlastní kvintet Nakama a je klíčovým hráčem v mnoha souborech, které vede skandinávská bubenická hvězda Paal Nilssen-Love.

Perkusista a skladatel Jan Martin Gismervik je pověstný svou kreativitou a hudební empatií. Působí v kapelách Monkey Plot, Torg, Oker, O, PGA.

Klarinetista, skladatel a hudební organizátor Andreas Røysum ve své hudbě mísí jazz, soudobou hudbu i znalosti ze studia indické klasické hudby, marocké súfi trance hudby a lidových hudebních stylů z Řecka, Turecka a Skotska. Kromě svých projektů - 13členného ansámblu, Marthe Lea Band, Miman nebo Nakama spolupracuje s hudebníky jako Alexander Von Schlippenbach, Mats Gustafsson, Tristan Honsinger a Paal Nilssen-Love.

Pro residenční Faun Ensemble napsal Røysum skladbu „Tell“, která je inspirována norským akrobatem Tellem Teigenem, pro něhož Røysumův dědeček pracoval. Dílo zkoumá pohyb a rovnováhu skrz harmonický prostor, melodické figury a variace textur.

Radim Hanousek vybral do residenčního ansámblu hudebníky ze svého projektu Dust in the Groove, který zcela otevřeně mísí soudobou hudbu, experimentální jazz a improvizaci.

Hanousek pracuje ve své skladbě FAUN s tématem bytosti Fauna, jeho bájnými fyzickými i povahovými vlastnostmi a historickou spojitostí s řeckým Satyrem a dalšími mytologickými bytostmi. Kompozice využívá zkušeností všech residenčních hudebníků se soudobou hudbou, jazzem i improvizovanou hudbou, interpretům ponechává velkou odpovědnost za zvukovou kreativitu.

Operní sopranistka Jana Vondrů se v současné době pohybuje především na poli soudobé a experimentální hudby. Spolupracuje například s Filharmonií Brno, Brno Contemporary Orchestra, Ensemble Opera Diversa.

Akordeonistka Žaneta Vítová tvoří s Janou Vondrů pilíř tria CONTriology, působí v experimentálním duu se zpěvačkou a hlasovou performerkou Annou Matvia, spolupracuje s Pražským improvizačním orchestrem, Operou Národního divadla Brno, Operou Diversa a Hausoperou.

Trumpetista Jan Přibil hraje jak soudobou hudbu (ansámbl Lichtzwang), tak i moderní jazz (Concept Art Orchestra, Cotatcha Orchestra).

Radim Hanousek se hudebně zaměřuje na různé podoby improvizace, intermedialitu a projekty na pomezí jazzu a soudobé vážné hudby a to jako interpret (saxofonista a basklarinetista) i jako autor a pedagog. Jako improvizátor spolupracuje s mnoha umělci z celé Evropy.  Již 10 let vede vlastní projekt Dust in the Groove a je aktivním členem mezinárodních ansámblů NOCZ a Prague Music Performance Orchestra.

FAUN ENSEMBLE

Andreas Røysum – klarinety, flétny, kompozice

Signe Emmeluth – alt saxofon

Christian Meaas Svendsen – kontrabas

Jan Martin Gismervik – perkuse

Radim Hanousek – basklarinet, saxofon, kompozice

Jana Vondrů – zpěv

Jan Přibil – trubka

Žaneta Vítová – akordeon

Vstupenky jsou v prodeji na www.faunfestival.cz

Projekt je realizován za podpory ― Fondy EHP a Norska

#faunfestival #faun #festival

[hmgn3]

23-February 散財記録

03(fri) ・dip in the pool / 黒いドレスの女 ～Ritual～ (1987, used 7inch) ・広瀬量平 / Kalavinka (The Music of Ryohei Hirose 1972-1973) (1973, used LP) 04(sat) ・Ben Vida / Slipping Control (2014, used LP) ・Owen Pallett / A Swedish Love Story EP (2010, used 10inch) ・Fuck Your Dreams, This Is Heaven (1986, used LP) ・Orson Welles / I Know What It Is to Be Young (1984, used 12inch) ・ICP Tentet / Tetterettet (1977, used LP) ・Perrey & Kingsley / The In Sound From Way Out! (1966, used LP) 05(sun) ・Nicole Mitchell / Mandorla Awakening II: Emerging Worlds (2017, used 2LP) ・Johnny Cage and the Stockhausen 5 / Prepare Your Pianos For... (1996, used 7inch) ・Flora Purim / The Midnight Sun (1988, used LP) ・João Donato / O Prestígio De João Donato (1983, used LP) ・John Morris / The Elephant Man Theme (1981, used 7inch) ・The Tornados / Telstar (1962, used 7inch) 06(mon) ・Tompot Blenny / Thinking of Ways of Keeping You Warm (1996, used 7inch) ・You've Gots Ta Chill (1995, used LP) ・No Right Turn / No Right Turn (1983, used LP) 10(fri) ・The Bartlebees / Miracles for Sale (1995, used 10inch) ・Joshua Rifkin / Piano Rags by Scott Joplin (1970, used LP) 11(sat) ・core of bells / 2nd season demo (2023, CD-R) ・Immersion / Nanocluster Vol. 1 (2021, used 2x10inch) ・Christian Bruhn / Silas (1981, used LP) ・Trade Martin / Made for Each Other (1971, used LP) 12(sun) ・Kingdom / Tears in the Club (2017, used LP) ・Odd Nosdam / No More Wig for Ohio (2003, used 2LP) ・Dosh / Dosh (2002, used LP) ・Richard Harvey / Life Cycles - Part 1 (1987, used LP) ・World Bass Violin Ensemble / Bassically Yours (1984, used LP) ・N.A.D.M.A. / Uno Zingaro Di Atlante Con Un Fiore a New York (1973, used LP) 14(tue) ・Friedman & Liebezeit / Unlimited Edition (2008, used 12inch) ・Andrew Poppy / The Amusement (1986, used 12inch) 16(thu) ・Simon Wickham-Smith & Richard Youngs / Knish (1996, used LP) ・Terraced Garden / Within (1988, used LP) ・Lounge Lizards / No Pain for Cakes (1987, used LP) ・Richard Jobson / Un Hommage À Marguerite Duras "Simplicity, Splendour ; Simply Splendid" (1985, used LP) ・Magic Guitar Sextet / 太陽の下の18才 (1963, used 10inch) 17(fri) ・Sun Araw / Off Duty (2010, used 12inch) ・Minotaur Shock / Bagatelle EP (2000, used 12inch) ・Michael Nyman / And Do They Do/Zoo Caprices (1986, used LP) ・Steckar Tubapack / Turbanisation (1984, used LP) ・Mark Springer / Piano (1984, used LP) ・Steve Swallow / Home (1980, used LP) ・Wayne Shorter / Native Dancer (1975, used LP) ・Nilsson / Nilsson Sings Newman (1970, used LP) ・Alexander von Schlippenbach / Globe Unity (1967, used LP) 18(sat) ・Jugz / Jugz 1st (2003, used LP) 20(mon) ・David Moss / Dense Band (1985, used LP) ・Ry Cooder / Jazz (1978, used LP) 26(sun) ・Aurélien Merle / Remerle (2015, used LP) ・Cat Stevens / Teaser and the Firecat (1971, used LP) 27(mon) ・Asuna & Jan Jelinek / Signals Bulletin (2019, used LP) ・Broadcast / The Book Lovers EP (1996, used 12inch) ・Augusto Algueró Y Su Orquesta / Con Nosotros (1968, used 10inch)

#disc

[experimentik]

Experimentik #60 / Ido Bukelman, Guilherme Rodrigues + Harri Sjöström

January 18. 2023 / 21:00- (doors 20:30)

Solo: Ido Bukelman - acoustic guitar, banjo, vocals

Duo: Guilherme Rodrigues - cello Harri Sjöström - soprano saxophone

FBevent: https://www.facebook.com/events/1308494436582278

_________________

Over the past 10 years, the composer-improviser Ido Bukelman has been on a lyrical, yet very expressive musical journey.His work combines elements of modern music, free-jazz and blues with oriental-folk tradition. Bukelman builds and breaks beats and structures, using dis-harmonized sounds, picking up every last microdetail, exploring ways to extract an ever-widening range of tones, challenging as well as delicate, from his instruments. He strives for the melodic and the intimate but doesn't avoid  passing through experimental and unfamiliar paths on his journey; If needed, he will dip his hands in fire and blood to find a new song.http://www.idobukelmanmusic.com/

photo by Vladimir Opsenica

-------------------------

Guilherme Rodrigues is a cellist, improviser, sound explorer and composer from Lisboa, Portugal. He was born in 1988 and started to study cello and trumpet when he was seven at Orquestra Metropolitana de Lisboa and later in Conservatório Nacional de Música de Lisboa to study classical and music theory until his twenty-three. With an intuitive approach to improvisation and exploration of the timbres, using both classical and extensive techniques, his music is exciting, polyrhythmic and full of contrasts. His work probes the physicality of the space in which listening occurs. His music, comprising both acoustic and electro-acoustic works has been described as delicate, intense, focused and physical. Apart from work in music ensembles ranging for contemporary classical to free improvisation, he often works with dancers. Has created music aswell for theater, radio, television and silent film. He is part of Creative Sources Recordings record label, music director of Hosek Contemporary Art Gallery and active member of Reanimation Orchestra. Has been following a professional career in music since 1997 and performs in concerts and workshops around Europe and Asia. Currently living in Berlin.

http://www.guilhermerodrigues.net

---------------

Harri Sjöström, born on 29 February 1952 in Turku, Finland, found his voice in music on the soprano and sopranino saxophone.His music and fine art studies at Lone Mountain College, University of San Francisco and San Francisco Art Institute in the 1970s led him directly to workshops by John Cage, Bill Dixon, Vinko Globokar, George Russell, and his saxophone teachers Leo Wright and Steve Lacy.Since 1978 continuous extensive work as a freelance musician, composer and initiator of interdisciplinary ensembles in the field of contemporary improvised music and mixed media projects. Back to Europe 1978 he started to work with Derek Bailey, Teppo Hauta-aho, Paul Lovens, John Russell, Paul Rutherford, Alexander von Schlippenbach a.m.o.In 1980 -1985 he lived in Vienna, Austria, which became his doorway to the European contemporary music scene; formed his first groups and organized numerous artist exchange-projects in Finland and elsewhere.

https://www.harrisjostrom.com/

------------------------------

Experimentik 2023 is supported by inm

[burpenterprisejournal]

PEEPHOLES HAVE THE POWER AT AU TOPSI POHL

2022/07/21 PEEPHOLES HAVE THE POWER (ALLBEE / BORGHINI / HEATHER / POGO) Au Topsi Pohl Berlin - DE

On Thursday 21 July, after a very long break, the quartet 'Peepholes have the power' returns, with Liz Allbee on trumpet, Mat Pogo on vocals, Antonio Borghini on bass and Steve Heather on drums. This is the third concert for Antonio Borghini's residency at Au Topsi Pohl in Berlin from 19 to 23 July. This is the programme:

Antonio Borghini Woche

Dienstag 19.7

“Tail of the taleless rabbit” Uli Kempendorff – tenor sax, clarinet Antonio Borghini – bass Hogir Göregen – percussions

Mittwoch 20.7

“Die Kunst des Insideout-Schlafens” Rudi Mahall – bass clarinet Alexander von Schlippenbach – piano Antonio Borghini – bass

Donnerstag 21.7

“Peepholes have the power” Liz Allbee – trumpet Mat Pogo – voice Antonio Borghini – bass Steve Heather – drums

Freitag 22.7

“The fisch upon a wish” Toby Delius – tenor sax, clarinet Charly Birkenhauer – vibes Antonio Borghini – bass

Samstag 23.7

“in der TAT” Toby Delius – tenor sax, clarinet Antonio Borghini – bass Tony Buck – drums

#live #concert #mat pogo #peepholes

[dustedmagazine]

Alexander Von Schlippenbach — Globe Unity (Corbett Vs. Dempsey)

The Globe Unity Orchestra notched more than a few accolades. It was the first European free jazz big band, and in retrospect, the first improv supergroup. During a history that spanned over 20 years of fairly steady work and a more recent pattern of convening every ten years, it has carried a standard for concerted international effort to improve the world through the transmission of sonic energy. They didn’t call it Globe Unity for nothing; its ranks were a model of multi-national cooperation, and it traveled far from its birthplace in Germany, thrilling and outraging audiences in locales as distant as Chicago and New Delhi.

Composer, pianist and lead Alexander von Shlippenbach didn’t necessarily have all of that in mind when he put the first GUO together. He didn’t even call it that; “Globe Unity” was just the name of the first piece it played. In the mid-1960s, he was part of a circle of musicians who had already been contributing for some time to the loosening and intensifying of jazz’s strictures in Europe. But he was not one who chose to forsake all he had learned in the process. Born in 1938, his post-war education included tutelage in classical composition, as well as a personal affinity for modern jazz. The two side-long pieces on this LP represented attempts to incorporate the sounds of free music into extent jazz and classical orchestral forms. 

When this music was first performed at the 1966 Berlin Jazz Festival, Schlippenbach combined the top German free jazz combos — the Gunter Hampel Quartet, Manfred Schoof Quintet, and Peter Brötzmann Trio. The next month, he recorded “Globe Unity” and “Sun” in Cologne. The personnel list is a heavy who’s who, and some folks might zero in on the names of the two drummers, Jaki (then spelled Jackie) Liebezeit and Mani Neumeier. In times to come, each would shape the rhythmic content of freak-forward German rock music, in Can and Guru Guru respectively. But that’s not what they played here. In concert with Schlippenbach, who played tubular bells, gongs, and both the interior and keys of his piano, and vibraphonist Karl Berger, they provided a multi-hued manifestation of otherness and density. The two bassists added as much seething presence as pulse. Sometimes dramatic, other times exotic (which was not viewed then with the skepticism that it sometimes is now), and only very occasionally swinging, the rhythm section transcended its duties within the big band idiom to contribute immensely to the music’s orchestral qualities. 

The horns, however, are what made this music massive. You don’t need the back cover action shot of players in the studio, confronted by overflowing music stands, to know that their united projection was charted out. The time when the orchestra would take on instant composition at an ensemble-wide scale was still a ways off. But by incorporating the broader tonal and timbral resources of the contemporary avant-garde into organized blocks of sound, they achieved a complex and looming sound which was matched at the time only by Sun Ra’s Arkestra. When individual voices cut through, either as breakaway soloists or connecting joints in the multi-segmented compositions, they functioned both as foci for the energy and agents of structural cohesion. 56 years on, it’s still thrilling. 

Globe Unity has gone in and out of the print since its first release by SABA in 1967, and this its return to the physical realm is welcome. This edition, licensed by the historically astute Corbett Vs. Dempsey imprint, is confined to limited CD and LP editions that recreate the original LP’s gatefold sleeve. It’s gorgeous, but one has to point out that anyone who is likely to buy a CD is also unlikely to be able to read Schlippenbach’s much-reduced liner notes unless they supplement their normal corrective eyewear with a magnifying glass. Old eyes would benefit from either a fold-out insert or an online resource. But music like this is for hearing more than reading, and this reissue sounds gloriously present and alive.

Bill Meyer

#Alexander Von Schlippenbach #globe unity #corbett vs. dempsey #bill meyer #albumreview #dusted magazine #free jazz #big band

[zef-zef]

Peter Brötzmann Quartet - Jazz Jamboree Poland 1974

Peter Brötzmann - reeds Alexander Von Schlippenbach - piano Peter Kowald - bass Paul Lovens - drums

#1970s #peter brötzmann quartet #peter brötzmann #alexander von schlippenbach #peter kowald #paul lovens #jazz #freejazz #free jazz #live jazz #live performance #jazz jamboree #poland #1974 #youtube

[noloveforned]

it's friday night and no love for ned is back to its usual peculiar self on wlur from 8pm until midnight.

last week's show (stream it on mixcloud) celebrated the music of peter brötzmann. if you've ever rolled your eyes because my show got "weird" in the second hour you can thank mr. brötzmann as he is probably the free jazz musician most responsible for sending me down that path twenty years ago. i witnessed two outstanding live performances from him in that time- once with his chicago tentet and once as a duo with joe mcphee. he'll be missed by myself and many others...

no love for ned on wlur – june 23rd, 2023 from 8pm-1am a tribute to peter brötzmann

artist // track // album // label brötzmann quartet // lila eula no. 2 // the inexplicable flyswatter // atavistic peter brötzmann trio with fred van hove // everything (excerpt) // for adolphe sax // brö peter brötzmann octet // machine gun (excerpt) // machine gun // brö manfred schoof // european echoes, part two (excerpt) // european echoes // free music production alexander von schlippenbach // into the staggerin // the living music // quasar peter brötzmann, fred van hove and han bennink // garten // balls // free music production peter brötzmann, fred van hove and han bennink plus albert mangelsdorff // antwarrepe // live in berlin 1971 // free music production peter brötzmann, juhani aaltonen, peter kowald and edward vesala // kippis // hot lotta // blue master special instant composers pool tentet // tetterettet nr. 11 // in berlin // free music production peter brötzmann and han bennink // aufen #2 // schwarzwaldfahrt // free music production peter brötzmann, harry miller and louis moholo // long time service // the nearer the bone, the sweeter the meat // free music production peter brötzmann and willi kellers // edelgard (excerpt) // edelgard... maar helaas! // free music production peter brötzmann // number five (a-clarinet) // 14 love poems // free music production last exit // enemy within // moers // (self-released) peter brötzmann, jay oliver and willi kellers featuring manfred schoof // trollymog // in a state of undress // free music production sprawl // physica subterranea // sprawl // trost brötzmann chicago tentet // aziz // the chicago octet/tentet // okka disc die like a dog quartet // part 5 // little birds have fast hearts // free music production peter brötzmann, william parker and hamid drake // never run but go, part three // never too late but always too early // eremite peter brötzmann, william parker and milford graves // side c (excerpt) // historic music past tense future // black editions peter brötzmann chicago tentet // all things being equal, part two // images // okka disk peter brötzmann and peeter uuskyla // dead and useless (excerpt) // dead and useless // omlott sonore // two birds in a feather // only the devil has no dreams // jazzwerkstatt peter brötzmann and han bennink // this is my faith // in amherst, 2006 // brö full blast // (part four) // farewell tonic // trost peter brötzmann, johannes bauer and mikołaj trzaska // storm in the wasserglass // goosetalks // kilogram konstrukt and peter brötzmann // makinalı (excerpt) // dolunay // re:konstrukt peter brötzmann and fred lonberg-holm // the fusion of opposites // ouroboros // astral spirits peter brötzmann and jason adasiewicz // going all fancy // going all fancy // brö peter brötzmann, john edwards and steve noble // nail dogs by ears // soulfood available // clean feed peter brötzmann // the very heart of things // münster bern // cubus laboratorio musicale suono c and peter brötzmann // decomposition six // decomposition // setola di maiale black bombaim and peter brötzmann // (part four) // black bombaim and peter brötzmann // lovers and lollypops los toscos and peter brötzmann // las malvaceas // la vigilia de las flores // in-correcto peter brötzmann and szilveszter miklos // at mu (first part, excerpt) // at mu // adyton peter brötzmann and heather leigh // at first sight // sparrow nights // trost peter brötzmann and keiji haino duo // a landscape never glimpsed before is on the verge of manifestation (excerpt) // the intellect given birth to here (eternity) is too young // black editions peter brötzmann // lady sings the blues // i surrender dear // trost peter brötzmann, farida amadou and steve noble // b.a.n., part two (excerpt) // b.a.n. // dropa disc peter brötzmann, maâlem mokhtar gania and hamid drake // almost with the sun (excerpt) // the catch of a ghost // i dischi di angelica peter brötzmann and fred van hove // front to front // front to front // dropa disc peter brötzmann, heather leigh and fred lonberg-holm // flower flaps // naked nudes // trost peter brötzmann, majid bekkas and hamid drake // mawama // catching ghosts // act music

#wlur #radio shows #peter brotzmann

[francoiscarrier]

Unwalled, by Francois Carrier / Alexander von Schlippenbach / John Edwards / Michel Lambert now available here @ https://sluchaj.bandcamp.com/album/unwalled #jazz #freejazz #improvjazz #saxophone #drums #piano #bass #alaeaxdervonschlippenbach #michellembert #johnedwards #jazzlabel #poland #montreal #london #berlin #fifa #fifaworldcup2022 https://www.instagram.com/p/CmZgnd9pG0G/?igshid=NGJjMDIxMWI=

#jazz #freejazz #improvjazz #saxophone #drums #piano #bass #alaeaxdervonschlippenbach #michellembert #johnedwards #jazzlabel #poland #montreal #london #berlin #fifa #fifaworldcup2022

[radiophd]

alexander von schlippenbach -- the living music

#1960s #jazz #freejazz #alexander von schlippenbach