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Peter Kowald

A member of the Globe Unity Orchestra, and a touring double-bass player, Kowald collaborated with a large number of European free jazz and American free-jazz players during his career, including Peter Brötzmann, Irène Schweizer, Karl Berger, Fred Anderson, Hamid Drake, Karl E. H. Seigfried, Conny Bauer, Jeffrey Morgan, Wadada Leo Smith, Günter Sommer, William Parker, Barre Phillips, Joëlle Léandre, Lauren Newton and Evan Parker. He also recorded a number of solo double-bass albums, and was a member of the London Jazz Composer's Orchestra until 1985. He also recorded a number of pioneering double bass duets with Maarten Altena, Barry Guy, Joëlle Léandre, Barre Phillips, William Parker, Damon Smith and Peter Jacquemyn. In addition, Kowald collaborated extensively with poets and artists and with the dancers Gerlinde Lambeck, Anne Martin (formerly of Pina Bausch Ensemble), Tadashi Endo, Patricia Parker (founder of the Vision Festival), Maria Mitchell, Sally Silvers, Cheryl Banks (formerly of Sun Ra's Arkestra), Arnette de Mille, Sayonara Pereira, and Kazuo Ohno

ARTICLE: ALBUM REVIEW

PUI4: A Pearl In Dirty Hands

Read "A Pearl In Dirty Hands" reviewed by Neri Pollastri

Più volte negli ultimi Nicola Guazzaloca ha lavorato in Portogallo, sia esibendosi con compagni italiani (come nel caso del duo con Edoardo Marraffa, documentato in Em Portugal!), sia collaborando con artisti locali, come in questo A Pearl In Dirty Hands dei PUI4, quartetto che lo vede a fianco dei portoghesi Joao Pedro Viegas al clarinetto basso, ...

The Creative Musicians Improvisers Forum: New Haven's AACM

Read "The Creative Musicians Improvisers Forum: New Haven's AACM" reviewed by Daniel Barbiero

The late 1960s through the 1970s and '80s were difficult years for jazz and jazz-derived improvised music, but they were also years that saw musicians—by necessity—respond to these difficulties with creative solutions. With first the rise and then the commercial dominance during those years of rock music and the corresponding eclipse of jazz, creative musicians in ...

ARTICLE: INTERVIEW

Gianluigi Trovesi: dal solo alle orchestre

Read "Gianluigi Trovesi: dal solo alle orchestre" reviewed by Libero Farnè

Non era più giovanissimo Gianluigi Trovesi quando alla fine degli anni Settanta venne alla ribalta nel sestetto di Giorgio Gaslini, che nei concerti lo presentava come “l'improvvisatore che viene dalle montagne." Il sassofonista e clarinettista infatti è nato e cresciuto a Nembro, nella Valle Seriana, dove ha mosso i suoi primi passi musicali all'interno della banda ...

ARTICLE: ALBUM REVIEW

Tibor Prettschnöder: The Largo And The Lame

Read "The Largo And The Lame" reviewed by Mark Corroto

By now it is generally accepted that there is such a category as Germanic free improvisation. One separate from the Peter Brötzmann, Alexander von Schlippenbach, Günter Sommer, Peter Kowald, Manfred Schoof, Gerd Dudek, Albert Mangelsdorff, etc, etc. school of free jazz that machine-gunned its way into the European scene of the late 1960s. These new rebels ...

ARTICLE: ALBUM REVIEW

Assif Tsahar / William Parker / Hamid Drake: In Between the Tumbling a Stillness

Read "In Between the Tumbling a Stillness" reviewed by Karl Ackermann

Israeli saxophonist/clarinetist Assif Tsahar has deep roots in the free-jazz genre, having played with Cecil Taylor, Butch Morris, Peter Kowald, Fred Anderson, Ken Vandermark, Herb Robertson, Cooper-Moore, and many others. Among his other associations are two albums with bassist William Parker, Sunrise in the Tone World (AUM Fidelity, 1995) and Mass for the Healing of the ...

ARTICLE: ALBUM REVIEW

Duo Periculoso: Non é Prohibito

Read "Non é Prohibito" reviewed by Ian Patterson

The collaboration between violinist Gunda Gottschalk and bassist Peter Jacquemyn dates back to 1995, with the duo expanding to a trio in the live arena with the addition of accordionist Ute Völker. Non é Prohibito (el NEGOCITO Records, 2017) is only the duo's second recording and comes eighteen years after E Pericoloso Sporgersi (Valve Records, 1999). ...

Evan Parker

Read "Evan Parker" reviewed by John Eyles

In his biography of Robert Wyatt, Different Every Time (Serpent's Tail, 2015), author Marcus O'Dair describes Evan Parker as “perhaps the finest British free-jazz saxophonist of his generation." The only words in that phrase that seasoned Parker followers might take issue with are “perhaps," “British" and “free-jazz," preferring just to describe him as the finest improvising ...

ARTICLE: ALBUM REVIEW

Joëlle Léandre: A Woman's Work...

Read "A Woman's Work..." reviewed by Mark Corroto

How do you sum up the career of an improvising artist like Joëlle Léandre? Do you reissue a package of recordings from her 40 years of performance? That is probably not possible, given the multiple labels and the location and ownership of the masters. Besides, free improvisation, almost by definition, dissipates (or probably should dissipate) upon ...

ARTICLE: ALBUM REVIEW

Tatsuya Nakatani: Confirmation

Read "Confirmation" reviewed by Nicola Negri

Percussionist Tatsuya Nakatani moved from Japan to the U.S.A. in the mid 1990s, and since then he has worked with many important jazz and free improvisers, both historical figures like Peter Kowald or Fred Van Hove, and younger musicians like Ingrid Laubrock and Mary Halvorson. A specialist of the solo set, he builds his own instruments ...


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