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Results for "Peter Brotzmann"
Corrado Beldì il poliedrico: su NovaraJazz e non solo
by Libero Farnè
Dopo aver partecipato a NovaraJazz per un paio di giorni nel 2008 e nel 2011, ho incontrato di nuovo il suo direttore artistico Corrado Beldì al Talos Festival di Ruvo di Puglia nel 2014, quando di scena era l'Instant Composers Pool. Mi trovai di fronte un quarantenne giovanile, estroverso, sempre pronto a una risata contagiosa e ...
Elisabeth Harnik / Michael Zerang: Dream Disobedience
by John Sharpe
On Dream Disobedience American drummer Michael Zerang and Austrian pianist Elisabeth Harnik head way out left field, treating their instruments as noise generators in a duet captured live at the Sound Disobedience Festival, in the Slovenian capital Ljubljana, in March 2019. Zerang may be best known as a member of Peter Brötzmann's Chicago ...
The Pandemic Sessions: Solos, Pt. 1
by Mark Corroto
Part 1 | Part 2 The entire world was in lockdown during the COVID-19 crisis and of course, that includes musicians. Unable to tour and record with their various ensembles, many prepared solo projects (some recorded before the virus struck) for your listening pleasure. Most of the music is very personal, as if the ...
Albert Ayler Quintet: 1966: Berlin, Lörrach, Paris & Stockholm. Revisited
by Mark Corroto
It may sound odd to describe the music that Albert Ayler's quintet performs here as the musical equivalent of comfort food, but these sounds can be associated with security and nostalgia. They are a reminder of the spark ignited by this tenor saxophonist from Cleveland. Ayler, maybe more than any artist of his day, paved the ...
Instrumental Duos
by Karl Ackermann
The early days of jazz were not always harmonious. Converted dance orchestras often sounded like unbalanced acoustic junkyards; a single violin, cornet, trombone, clarinet, tuba, drums, banjo, and piano, all fighting for attention. The piano was meant to be the glue holding the shrill and boisterous elements together. In 1921 a prodigy pianist named Zez Confrey ...
Oliver Schwerdt with Barry Guy and Günter ‘Baby’ Sommer: One for My Baby and One More for the Bass
by Troy Dostert
There aren't many musicians who've loomed larger in European free improvisation since the 1970s than bassist Barry Guy and percussionist Günter 'Baby' Sommer. In addition to their own work as leaders (the former having much more of a presence in this regard than the latter, admittedly), each has collaborated with the heavyweights of the free music ...
George Haslam / João Madeira / Pedro Castello Lopes / Mário Rua: Ajuda
by Mark Corroto
Why would a listener consider Ajuda, a free jazz recording by the quartet of British saxophonist George Haslam and this Portuguese trio, to be a meditative production? Is it quiet? Not really. Is it a solo effort? Not at all. Is it focused inward? No, and yet, yes it is if we consider the synergistic effects ...
Seeing More Jazz
by Luciano Rossetti
My interview (Seeing Jazz: The Photography of Luciano Rossetti) with Karl Ackermann was published earlier this week. Here are some additional photos of mine that I wanted to share. Over the course of my career I have had the pleasure of photographing some of the greatest jazz musicians in the world including Anthony Braxton, ...
Sabu Toyozumi / Mats Gustafsson: Hokusai
by Mark Corroto
This tantalizing duo between Mats Gustafsson and Sabu Toyozumi was recorded at two live concerts in Chiba, Japan in 2018. Probably most listeners are familiar with the Swedish saxophonist from his avant--garage trio The Thing with Ingebrigt Håker Flaten and Paal Nilssen-Love and dozens of other ensembles including Fire! Orchestra, The End, and Cuts with Masami ...
Juozas Milašius / Tomas Kutavičius / Dalius Naujokaitis and Lithuanian Young Composers Orchestra: Live at Willisau, 1993
by Vitalijus Gailius
Juozas Milašius, Dalius Naujokaitis-Naujo and Tomas Kutavičius were the most provocative figures on the Lithuanian scene in the 1990s. Playing bebop or following the Ganelin Trio tradition was not the their thing back then (and it is not in 2021 either). They played passionately and intensely and beyond genre boundaries. Stories about destroyed pianos and audiences ...
