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Jazz Articles about Gunter Hampel
Marion Brown: Three For Shepp To Gesprachsfetzen Revisited
by Alberto Bazzurro
Tre brani di Marion Brown e altrettanti di Archie Shepp compongono il primo dei due album riuniti, come sempre meritoriamente, in questo CD, provenendo da quello che rappresenta il debutto dell'altosassofonista georgiano su Impulse!, inciso il 1° dicembre 1966 (dopo un paio di ESP e un Fontana) e pubblicato l'anno seguente. La stessa Impulse!, come già aveva fatto con lo stesso Shepp riferendolo a Coltrane per Four for Trane, ricicla per l'occasione la stessa formula riferendo Brown al collega di ...
Continue ReadingMarion Brown: Three For Shepp To Gesprachsfetzen Revisited
by Mark Corroto
It's not too late to catch up with alto saxophonist and composer Marion Brown. Thanks to this excellent reissue and remaster series, you can hear the innovative recordings from this master musician. This release follows his 1965/66 discs Capricorn Moon To Juba Lee Revisited (ezz-thetics, 2019) and 1966/67 discs Why Not? Porto Novo! Revisited (ezz-thetics, 2020). Chris May's excellent liner notes posit an answer to Brown's relative obscurity. He essentially lays the blame on marketing. Record labels and ...
Continue ReadingMarion Brown: Three For Shepp To Gesprachsfetzen Revisited
by Chris May
"It is often those we hear the least that we should listen to the most." So wrote the Guadeloupean pianist Jonathan Jurion on the release of his album Le Temps Fou: The Music Of Marion Brown (Komos, 2019). Just why Marion Brown has become such a rarely acknowledged figure is unclear. He possessed all the qualifications needed to go large plus a few extras for good measure. He was a good-looking man. He dressed well (telling Dave ...
Continue ReadingGunter Hampel: Vibes Vibes (Vibrafon Solos 2008)
by Marc Medwin
Glass, shimmer, impressionism and cool all vie for prominence throughout these excursions into the multiplicitous world multi-instrumentalist Gunter Hampel creates on every solo . Logical proportions are exposed only to disappear; tones glisten, swell and fade, either in rapid succession or in glacial dance. This is only the second solo release from the prolific improviser on his own label, a company which celebrates its 40th anniversary this year and a more fitting one would be hard to imagine.
Continue ReadingGunter Hampel Group: Music From Europe
by Jerry D'Souza
Gunter Hampel (vibraphone, bass clarinet and flute) grew up studying German folk and European classical music. When he was eight he heard Louis Armstrong and jazz for the first time. Though he did not understand a word of English, he felt Armstrong communicating with him. This had an indelible influence and Hampel went on to win several jazz competitions. Hampel became a professional jazz musician in 1958 when he was 21. His ideas moved in a different direction ...
Continue ReadingGunter Hampel Group: Music From Europe
by Raul d'Gama Rose
Although it is simply called Music From Europe, the Gunter Hampel Group's first foray into America in 1966, could well have joined the ranks of several early (1950s) recordings by MJQ or John Lewis and Dizzy Gillespie's Perceptions (Verve, 1961) as one of those earliest examples of where the musical cultures of classical Europe and jazz USA collide. Perhaps the title is even deliberate; a tongue-in-cheek reminder that jazz--although, in its absolute form a musical idiom evolved ...
Continue ReadingDances; On Fire Hierseins-Erfahrungen; Emission
by Javier AQ Ortiz
Musical vanguardist and multi-instrumentalist Gunter Hampel has been under the spell of jazz since the end of WWII. By the end of the '50s, he was already a full-fledged European professional jazz musician and by the '60s, he had made lasting inroads into the North American jazz scene. Operating out of Germany and the USA, after living in New York and several European cities throughout his life, Hampel continues to be active at jazz' leading edge. His notable career involves ...
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