Lee Konitz, alto & tenor saxophone, flute
Attila Zoller, guitar
Barre Phillips, double bass
Stu Martin, drums
1. Struwwelpeter (8:25) / 317 East 32nd Street (6:42) / How Deep Is The Ocean (LK-solo) (5:32) / At Twilight (8:20) / Alice's Lullaby (AZ-solo) (3:55) 38:47
Recorded at the Amerika-Haus in Köln during the MPS-Tournee on March 22, 1968.
(pre-FM)
John Surman, bariton & soprano saxophone, bass clarinet
Barre Phillips, double bass
Stu Martin, drums
Track 1
a. announcement (0:48)
b. Billy The Kid / Let's Stand / Foyer Hall / In Between / Silvercloud / Caractacus 22:57
Recorded on October 24, 1970 at 7th Czechoslovakian Jazz Festival in Prague.
(pre-fm)
Track 2
a. announcement Köhn 2:02
b. Time Life 32:00
Recorded on June 6, 1976 at 5th New Jazz Festival in Moers.
(pre-fm)
see a.o. also here
Rolf Kühn, clarinet
James Chick Carter, tenor & baritone saxophone, flute
Heinz Sauer, tenor saxophone
Joachim Kühn, piano
J.F. Jenny-Clarke, bass
Stu Martin, drums
01. Vampire's Castle (JK,comp) - Ann RK 15:28
02. Invention For Five + One (RK,comp) - Ann RK 11:29
03. Nobody Knows You Tomorrow (JK,comp) 8:47
04. Screams For Peace (fade-out) 5:14
Recorded on April 27, 1969 at Junges Theater, Hamburg, Germany.
(fm)
Here's my first attempt for a compilation. In general I prefer "proper" albums, but with such a line-up I couldn't withhold myself.
A special mentioning goes for a rather unusual piece by Albert Mangelsdorff's group (in my ears) and to the Schlippenbach Trio with Paul Lovens and Michel Pilz! Some month ago I was convinced that there is no official recording by this trio.
( see > http://inconstantsol.blogspot.com/2010/10/schlippenbach-trio-first-incarnation.html ) - to err is human...and in this case quite joyful.
Hope you enjoy it as much as I do.
INTERNATIONALES NEW JAZZ MEETING AUF BURG ALTENA (Compilation)
1. JOACHIM KÜHN - EJE THELIN GROUP & ROLF KÜHN
Joachim Kühn, piano, alto saxophone
Rolf Kühn, clarinet
Eje Thelin, trombone
Hardy Roitlinger, bass (Adelhard Roidinger ?!)
Jacques Thollot, drums
"unknown title" 11:08
2. ALBERT MANGELSDORFF QUARTET
Albert Mangelsdorff, trombone
Heinz Sauer, alto saxophone
Günter Lenz, bass
Ralf Hübner, drums
"unknown title" 12:45
3. NEW JAZZ TRIO
Manfred Schoof, trumpet, fluegelhorn
Peter Trunk, bass
Cees See, drums
"unknown title" 12:26
4. JOHN SURMAN TRIO
John Surman, soprano saxophone, bass clarinet
Barre Phillips, bass
Stu Martin, drums
"unknown title" 11:50
5. WOLFGANG DAUNER TRIO
Wolfgang Dauner, piano, electric piano, melodica, hohner-pinnet
Eberhard Weber, bass
Fred Braceful, drums
"Summertime" (excerpt) 07:10
6. ALEXANDER VON SCHLIPPENBACH TRIO
Alexander von Schlippenbach, piano
Michel Pilz, bass clarinet
Paul Lovens, drums
"Yarrak" 06:21
7. JOHN SURMAN TRIO + ALAN SKIDMORE
Alan Skidmore, tenor saxophone
John Surman, baritone saxophone
Barre Phillips, bass
Stu Martin, drums
"Dee Tune" 07:42
This is a compilation made from parts of two LPs.
Track 1 - 4 from JG RECORDINGS JG 21/22
"Internationales New Jazz Meeting Auf Burg Altena"
Recorded on June 27, 1970 at Altena, Burginnenhof, Germany.
The John Surman Trio was recorded on June 26, 1970.
Track 5 - 7 from JG RECORDINGS JG 24/25
"Remembering '70"
Recorded in 1970 at various concerts in Dortmund, Iserlohn and Altena.
.
Don't know what to write - thank you R. for the rip - cover found on the "web-side"...
ROLF & JOACHIM KÜHN "MONDAY MORNING"
Eje Thelin, trombone
Rolf Kühn, clarinet
John Surman, baritone saxophone
Joachim Kühn, piano, alto saxophone
Barre Phillips, bass
Stu Martin,drums
Jacques Thollot, drums
1. Black Out (J. Kühn) 00:53
2. Strangulation Of A Monkey (R. Kühn) 06:07
3. Dance Of A Spaceman (R. Kühn/R. Jürgensen) 09:33
4. Reflections Of A Monday Morning (R. Kühn) 03:07
5. Oh! Grand Pa (J. Kühn) 07:42
6. Don't Think (J. Kühn) 05:54
Recorded : November 1969 in Berlin.
(On a morning after a concert at Berlin Jazz Fest -
the J.Kühn Quartet had a concert on 06.Nov. -
they played "Suite to our Father Duke" -
so the actual recording date should be the 7th November 1969.
Track 5 is dedicated to Duke Ellington.)
HÖRZU (Black Label) SHZE909BL
As announced in the previous post, here is the final entry in the Trio discography. Nominally the third, if one discounts "Conflagration" which was not strictly speaking a Trio record, though with the Trio at its core. We have posted the first double album which has been reissued on cd and the "Live in Altena" which had a limited circulation back then and has not been officially rereleased.
This one was out on the Ogun label in 1987, 16 years after its being recorded in the Tangerine Studios in London. There's a misprint on the back sleeve saying it was recorded in 1979, but by then the Trio had long disbanded. It was remastered at the Rainbow Studios in Olso in 1986. This studio was reguarly used for ECM recordings and by then John Surman had pretty much shifted to ECM as his main outlet. So it is more than likely that Surman had kept the master tapes and asked the studio to do a remastering job on them. But ECM didn't release them.
Six pieces on this record:
Side 1
Flyover (John Surman)
Open Brown (Barre Phillips)
Side2
Utah, Oregon (Stu Martin)
Noninka (Stu Martin)
Cant (Barre Phillips)
In The Round (Martin, Phillips, Surman)
Stu Martin - drums
Barre Phillips - double bass
John Surman - baritone and soprano saxes, bass clarinet, cornet
As the other Trio records, this is very much a collabarative effort with composition credits liberally divided among the three. This one has the novelty of hearing Surman on the cornet. I'm not sure if this was a one-off thing, because I can't recall Surman playing cornet regularly later. On other tracks, he switches to bass clarinet and soprano sax, though it's the baritone that is his main instrument throughout. Moodwise, it shifts from ferocity to placidity, with Stu Martin supplying the former and Barre Phillips the latter, at least to these ears.
The final three pieces pieces on the second side pretty much run together, so I haven't put in track markers. It's fairly easy to hear the transition points as Surman picks up another instrument to head into the next tune. For more details, please consult the extensive liner notes by Charles Fox on the back of the sleeve, attached to this post.
Up next: The Berlin Jazztage 1969 concert
Here's an item I've been hunting for quite a while and finally managed to get on a cd-r, sourced from the LP above. This is the Trio, which made two albums for Dawn records during their comparatively short life span, this one which was only out in small quantities, I believe, and a fourth one, which I'll come back to later. Any guesses?
The Trio was probably John Surman's freest moment, and after this burst, went quiet and released "Westering Home", radically removed from the Trio, and drawing upon musical memories during his childhood in the southwest in England. His lyrical side has been much more to the fore in later releases than in this explosive, no holds barred frenzy of reed overdrive. This is not to deny that there are not quieter moments on this fine recording.
To me this is one of the highlights of John Surman's prodigious output, if not the highlight. We've posted the Trio before as well as the SOS project with Mike Osborne and Alan Skidmore. Do look up Michel Portal's "Alors" which has Surman dueting with Portal and the ret of the Trio. In the top rank of European free jazz, no questions asked. Barre Phillips and Stu Martin provide the tightly knit environment of three-fold impro. It's a bit of a misnomer to call this album John Surman Trio as the group pretty much was leaderless, though one may guess it was for marketing purposes.
Five pieces on this album, though they run very much together. Three of the pieces were first featured on the first Trio album, so listening to this one and the first Trio, I suspect it runs something like this:
Side A:
Billy the Kid (Martin)
Tallness (Surman)
Dee Tune (Surman)
Side B:
In Between (Surman)
Spikenard (Phillips)
John Surman (bs,ss, cl)
Barre Phillips (bs)
Stu Martin (ds)
Recorded on 10.1.1970 in Altena, Westfalen.
Something special.. a wonderful concert by the Trio..One of the great post bop outfits of the late 60’s early 70’s.
Most people, will be familiar enough with the work of John Surman and Barre Phillips both of whom are by now elder statesmen of the European jazz and contemporary improvised music scenes.
Both have carved out significant careers and recorded prolifically coming to prominence among the general listening public through recordings on the ECM label.
Less is known about Stu Martin, who like Phillips was an expat American living in Europe at the time(Phillips lives in France and has done for nearly 30 years).
Stu martin started his career in the late 50’s first appearing with Maynard Ferguson’s Orchestra, by the 60’s he was recording with the likes of,Art Farmer and Lee konitz (a prime example being zo-ko-ma on mps also featuring Phillips,Atilla Zoller and Albert Mangelsdorff).
The trio formed in October 1969 and lasted about two years in which time they recorded the magnificent self titled dawn double lp , and in early 71 ‘Conflagration” still available on the Bgo label.
This concert features a lot of the material from the Dawn set…to my ears even more ferociously driving.
A stunning set in superb sound.
Many thanks to the seeders/traders Jazzrita and to B.
The Trio
1970-October-12
Göttingen, Germany,
Centre (later renamed Podium), 1970
John Surman, bs, ss, bcl
Barre Phillips, b
Stu Martin, dr
APROXIMATELY 2HOURS AND 10 MINUTES!!
ENJOy
hi all
heres an album ,thats been out of print a long time. Brain (Austria) 500.018 (lp) 1976)
those who know the ecentric austrian pianist only for his renown performances of the european classical repertoire,notably mozart and haydyn, will be surprised to know he was an innovative envelope pushing,master improvisor with a wry sense of humour,who delighted in challening his audiences, by playing in ever more outrageous contexts his collaboration in 1972 with the improvising trio of 'non musicians'ANIMA
was particularly enraging to 'classical purists" .
gulda seemed to want to find the commonality in all streams of music.
heres a short bio from wikipedia (although it doesnt mention his freer projects)
and not surprisingly few of those are in print.
one gets the impression that those who maintain his legacy would prefer to ignore
his more experimental side.
Friedrich Gulda (16 May 1930 - 27 January 2000) was an Austrian pianist who performed in both the classical and jazz fields.
Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the age of 7; in 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx. After winning first prize at the International Competition in Geneva four years later, in 1946, he began going on concert tours throughout the world. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the "Viennese troika".
Although most famous for his Beethoven interpretations, Gulda also performed the music of J. S. Bach, Mozart, Schubert, Chopin, Debussy and Ravel.
From the 1950s on he cultivated an interest in jazz, writing several songs and instrumental pieces himself and combining jazz and classical music in his concerts at times. Gulda wrote a Prelude and Fugue with a theme suggesting swing. Keith Emerson performed it on Emerson, Lake & Palmer's The Return of the Manticore. In addition, Gulda composed "Variations on The Doors' 'Light My Fire'". Another version can be found on As You Like It (1970), an album with standards such as "'Round Midnight" and "What Is This Thing Called Love?"
In 1982, Gulda teamed up with jazz pianist Chick Corea, who found himself in between the breakup of Return to Forever and the formation of his Elektric Band. Issued on The Meeting (Philips, 1984), Gulda and Corea communicate in lengthy improvisations mixing jazz ("Someday My Prince Will Come" and the lesser known Miles Davis song "Put Your Foot Out") and classical music (Brahms' "Wiegenlied" ["Cradle song"]).
It was this unorthodox practice that, among other things, earned him the nickname "terrorist pianist"; Gulda had a strong dislike of authorities like the Vienna Academy, the Beethoven Ring of which he was offered in recognition of his performances but which he refused, and even faked his own death in the late 1990s, cementing his status as the 'enfant terrible' among pianists. Nevertheless, Gulda is widely regarded as one of the most outstanding piano players of the 20th century.
Friedrich Gulda died on January 27, 2000 at the age of 69, following a heart failure.
Two of his three sons, Paul (with first wife Paola Loew, born October 25, 1961) and Rico (with his second wife Yuko Wakiyama, born April 9, 1968) Gulda, are also accomplished pianists.
tacklist
Einsamkeiten 17:58
Begegnung auf Moosham 5:10
Wechselnde Begegnungen auf Moosham 26:58
Mooshamer Begegnungen (Fortsetzung): "Das Gewitter" 19:18
Mooshamer Begegnungen (Schlus): "Nach dem Gewitter" 7:16
Nachklange - Ruckkehr - Zweisamkeit 13:30
this double album , features a killer line up
personnel
friedrich gulda-piano and percussion
ursula anders-percussion,objectsw
cecil taylor-piano on tracks 2,3,4
john surman-saxes, synth on 3,4,5
barre phillips -double bass on 1,3,4,5,
stu martin-drums on 3,4,5, albert manglesdorff-trombone on 3,4
Moosham Castle, Langau (Austria), August 20-22, 1976
note cecil taylor recorded his classic solo outin on enja air above mountains, earlier the sameyear at moosham castle
all the tracks seem pretty much improvised
ive split the double lp into two zipped files
(note the lp ,was really rather crackly)
part 1- http://rapidshare.com/files/25888093/nahricht_1.zip
part 2- trolled HOW Senseless
