Alexander Von Schlippenbach:
The Living Music
Quasar HO 1, FMP 0100

Recorded: April 24, 1969: Rhenus Studio, Cologne, Germany

Personnel: Han Bennink (drm), Peter Brötzmann (ts), Buschi Niebergall (ab), Michel Pilz (bcl), Paul Rutherford (trom), Manfred Schoof (tr), Alexander von Schlippenbach (ap)

Track Listing:
1. The Living Music (AvonSchlippenbach, 14:15)
2. Into the Staggerin (AvonSchlippenbach, 4:02)
3. Wave (MSchoof, 3:22)
4. Tower (AvonSchlippenbach, 11:03)
5. Lollopalooza (PBrotzmann, 2:18)
6. Past Time (MSchoof, 8:56)

Background: Schlippenbach, mastermind behind the Globe Unity Orchestra, leads an all-German, except for Rutherford, contingent from the GUO on this early album. Deviating from the extended loosely composed pieces used in earlier sessions, The Living Music relies more on structured arrangements for six relatively short works. Each side begins with music typical of the GUO, but also explores briefer compositions for featured soloists.

Review: The title of this album is quite apt. This is animated music, crackling with energy. The title track builds up from a quiet beginning of horns, light cymbals and gong. Rising in energy over Schlippenbach's cascades, the music becomes frenzied, yet fluid and natural, despite Brötzmann's involvement. Niebergall's Arco fills out the sound, and Bennink takes a typically frantic solo, complete with yelps. A startling opening to a powerful album. The shorter pieces are rife with delightful melodies, Schoof's "Wave" in particular. All participants make vital contributions: Niebergall's rich bass, Brötzmann's characteristic squeak, Schlippenbach's subtle nods to atonality, Rutherford's multiphonics. For those scared off by the sheer density of some of Schlippenbach's other groups, The Living Music mixes tradition and spontaneity in an intriguing and ultimately accessible way.

Availability: As one of the first 10 FMP albums, it is pricier than usual for items from this sought-after label. It becomes available infrequently, even less so in its original, virtually unattainable, private label pressing. While possibly valued at $50 or more, it is well worth getting. Fans of Brötzmann's will be surprised at his reserve and aficionados of German free expression will have an opportunity to hear some of the major proponents in shorter, train wreck-like bursts. Along with Globe Unity (MPS 1966), this is an essential recording.

Globe Unity 73:
Live in Wuppertal
FMP 0160

Recorded: March 25, 1973: Wuppertal, Germany

Personnel: Peter Bennink (as bagpipes), Peter Brötzmann (bs ts as), Gunter Christmann (trom), Gerd Dudek (fl cl ts), Peter Kowald (tuba alphorn), Paul Lovens (drm), Buschi Niebergall (ab), Evan Parker (ss ts), Michel Pilz (fl bcl bs), Paul Rutherford (trom), Manfred Schoof (tr), Alexander von Schlippenbach (ap), Kenny Wheeler (tr)

Track Listing:
1. Wolverine Blues (JRMorton, 1:21)
2. Payan (AvonSchlippenbach, 1:16)
3. Bollocks (AvonSchlippenbach, 3:39)
4. Yarrack (AvonSchlippenbach, 5:51)
5. Bavarian Calypso (AvonSchlippenbach, 3:56)
6. Out of Burton's Songbook (WBreuker, 4:24)
7. SolidaritÀtslied (HEisler, 1:17)
8. Maniacs (PKowald, 22:30)

Background: A live concert from 1973, Wuppertal merges the expansive freeform music of the GUO's early days with the shorter compositions explored on The Living Music. Included are three covers, as well as examinations of tracks found on Schlippenbach's 1972 solo piano album for Enja ("Yarrack" and the title track). The involvement of Englishman Evan Parker, Canadian Kenny Wheeler and Han Bennink's brother on bagpipes gives this album a different sound than others by this group.

Review: The first side is full of short spurts, some clocking in at under a few minutes, others fading out leaving the listener to mull what was excised. Besides the jocular Morton march and the stirring Breuker/Eisler composition played as a mini-suite, all the pieces feature Schlippenbach's increasingly engaging songwriting. "Payan" has a much tighter chart than the original version; "Bollocks" features a strong Dudek solo over a discomforting swing accompaniment. "Yarrack" sticks closely to the original's music and unchecked pace. The meat of Wuppertal however is Kowald's extended and appropriately named "Maniacs", which takes up all of side two. The piece flows out of a solemn opening of Rutherford's trombone and Bennink's bagpipes. Essentially a vehicle for long solos by Rutherford, Brötzmann and Schoof, the full band plays only occasionally, punctuating the themes of each soloist. Each segment reflects the personality of the featured player: Rutherford's reserved dissonance, Brötzmann's reckless cacophony and Schoof's refined atonality. Kowald, as the ringleader, pushes the piece forward by virtue of his own energetic playing.

Availability: This is a fantastic document of the GUO's abandon in a live setting. Less overtly cerebral than Atavistic's recently released Globe Unity '67 & '70, there is a whimsy and sense of amusement here that draws the listener in immediately. It may take some work to find, but should not be too expensive. Like most of the FMP mid-'70's catalogue, it should be available between $20 and $30 if in good shape. Snatch it up if you can-it is one of the finer recordings made under the Globe Unity moniker.

Globe Unity Special:
Into the Valley Vol. 2
FMP 0270

Recorded: March 31, 1975: Workshop Freie Musik, Berlin, Germany

Personnel: Gerd Dudek (ts), Peter Kowald (ab), Steve Lacy (ss), Paul Lovens (perc), Albert Mangelsdorff (trom), Evan Parker (ss ts), Paul Rutherford (trom), Alexander von Schlippenbach (ap), Kenny Wheeler (tr)

Track Listing:
1. Into the Valley (EParker, 15:30)
2. Of Dogs, Dreams, and Death (EParker, 22:25)

Background: By the mid-'70's, the Globe in Globe Unity was literal. Featured on this disc are four Germans, a Dutchman, an American, two Englishmen and a Canadian. Evidence Vol. 1 (FMP 0220) is the first half of this live recording. It is also a rare GUO album without a Schlippenbach composition.

Review: Into the Valley is weak for several reasons. Parker's compositions have a meandering quality to them that give the participants little to work with. The instrumentation leans towards the higher register, lacking a bass clarinet or baritone sax to round out the sound. The abysmal sound quality of this record, uncommon for FMP discs, exacerbates this. Kowald is inaudible throughout and Schlippenbach's piano is muddy. The intriguing lineup never really delivers and an "inspired" moment, when the saxes combine to recreate a dog whistle, is more irritating than enjoyable. Besides Parker's writing, which does not vary much from one piece to the other, the musicians never gel in a way that makes free jazz compelling. It may be that each musician, while coming from avant-garde backgrounds, has diverged too much in their individual careers to meet effectively. In addition, the presence of so many non-Germans, not known for bombastic playing, lends a reserved air to the music that is ultimately rather tedious. It is as if the players are not sure whether to stay back or let loose. This kind of indecision does not make for good music. One positive is hearing both progenitors of trombone multiphonics in an unaccompanied duel during the title track.

Availability: This album seems to crop up more often than other FMP's from this period. However, it seems to go for more money than would be expected, averaging about $30. The rare presence of Lacy as a sideman or the two Parker compositions may be the reason for this. Not having heard the other album in this series, it is impossible to say whether it is as flimsy as its companion. Considered in a vacuum, Into the Valley really is not worth getting unless at a bargain price. Both volumes have been reissued as a single CD entitled Rumbling (FMP CD 040).

Next month: Calig