#Young peter brГ¶tzmann professional#
#Young peter brГ¶tzmann free#

To these ears, it's primal, pre-civilisational sound-makiing with the pianist trying to inject a bit of civility to the proceedings without really succeeding. Having listened through it once, I'm not sure if this is jazz or whether there is anything avantgar(d)ish to it. Whether it is the one that was requested, I have no idea, but if anything, it's a pretty good substitute.

#Young peter brГ¶tzmann professional#

Searching the archives, I came up with this 68-minute set from Quartier Latin, Berlin on 31 October, 1973 which definitely is live, has all four with Mangelsdorff popping in rougly mid-way through, and as was mentioned in the request, sounds like a professional recording suitable for airplay. Charles Gayle.We had a request last year for Rhythmbox 1 and 2, live recordings featuring Peter BrГ¶tzmann, Fred van Hove, Han Bennink + Alfred Mangelsdorff, recorded and broadcast roughly mid-70s. Review: Damo Suzuki with Dragon not Emperor, Plex.Review: Freedom of the City, Red Rose Club, London.Northern Celts at the Swan in the Rushes.Peter BrГ¶tzmann (ts,cl, tar) Mars Williams (ts, as, ss, cl) Ken Vandemark (ts, cl, b-cl) Mats Gustafsson (bs, flup) Joe McPhee (pc, v-tr ss) Jeb Bishop (tr) Fred Londberg-Hom (co) Kenty Kessler (b) Michael Zerang, Hamid Drake (d, perc) John Coltrane (ts) McCoy Tyner (p) Jimmy Garrison (b) Elvin Jones (d)

Oliver Nelson (ts) Richard Williams (t) Eric Dolphy (as) Richard Wyands (p) George Duvivier (b) Roy Haynes (d) although it sounds like an interesting verb.

For those obsessives who read the discographic details - a 'flup' is a flutophone. Hellraiser of the tenor, Peter BrГ¶tzmann with a superb band, live from the Empty Bottle in Chicago, 1997. An odd track, compared to the usual firestorms вЂ“ everyone hanging back.

#Young peter brГ¶tzmann free#

Coltrane returns, Jones doing some neat double-timing behind him. Peter BrГ¶tzmann is a revered free jazz musician from West Germany whose over 50-year career has taken him from the interdisciplinary radicalism of the late 20th-century Fluxus art movement to extensive collaborative and solo recording and performance. Tyner comes in for a flowing solo, Elvin Jones - on brushes throughout - crisply following his line. This is 'Too young to go steady,' from the 1962 album 'Ballads.' Slow and poignant вЂ“ paying attention in a Lester Young manner, perhaps, to the lyrical theme of the song, evoking the gawky uncertainess of young love and playing it very straight. The wild card is, of course, Dolphy вЂ“ who just runs off the conventional edges of this music in joyous fashion.Д¬oltrane was always a superb ballad player вЂ“ his more abrasive, violently questing edge subsumed into a tender, reflective approach. Richard Williams is bright and vibrant, a flash solo. Roy Haynes underneath keeping it pretty much beboppy, Duvivier вЂ“ solid, I suppose. This is from 'Screamin' the Blues,' 'Drive.' Which does. Oliver Nelson was always a player I liked вЂ“ no great technician but he had a special reedy/vibrato-y tone which was unique, a bluesy edge and some interesting ways of developing motifs. So a quick post as I have a train to catch from God's Little Acre to the big city вЂ“ three tenor saxophonists. A strange succession of gigs recently вЂ“ from playing with Damo Suzuki the other Saturday to an old-school folk night last Friday featuring Johnny Collins (with review to follow) - to today's line up of radical/improvising performers. Especially looking forward to seeing E.P. I am off to London today to grab some of the action at the 'Freedom of the City' festival вЂ“ curated (I love that word) by Evan Parker, Eddie PrГ©vost and Martin Davidson.