Trost

Genre

Format

Date

Trost

"Their 5th album finds the band in a studio again, in their label Trost Records hometown Vienna, with time and the desire to try something new. Seven compositions in the disctinctive strong FULL BLAST nature get an exciting electronic treatment by Michael Wertmüller (sounds/electronics by Gerd Rische- head of Berlin Acadamy of Electro-acoustic Music 1995-2014) during and after the recording." "With all the projects Peter Brötzmann is currently working on, Full Blast -- with the precise and dynamic Swiss rhythm section of Marino Pliakas and Michael Wertmüller -- is the most consistent and the longest-running. Their fifth album finds the band in a studio again, with time and the desire to try something new. Seven compositions in the distinctive, strong Full Blast nature get an exciting electronic treatment by Michael Wertmüller (with electronics by Gerd Rische, recorded months before his death in October 2015) during and after the recording. For mixing the band decided to work with Gareth Jones (well-known for his work with Einstürzende Neubauten and Depeche Mode), whom they have used with Pliakas's band Steamboat Switzerland before. Full Blast have created an album that in its nonconformity and richness in variety stands on his own in contemporary jazz."  --- Peter Brötzmann / reeds Marino Pliakas / e-bass Michael Wertmüller / drums Gerd Rische / electronics --- CREDITS:Recording: Martin SiewertProduction: Konstantin DrobilMix: Martin SiewertMastering: Martin SiewertArtwork: Peter Brötzmann

Full Blast – Risc

"Bassist Joëlle Léandre and pianist Elisabeth Harnik have only been playing together since 2016 but this debut CD – a recording from their third ever performance – reveals a duo who have already developed a highly simpatico and sophisticated approach to spontaneous composition that draws equally on elements of free improvisation and contemporary classical music. Rather than the waxing and waning 40 minute set that presently constitutes a lot of live recordings, there is an adroit attention to form in operation here, as the duo present half a dozen perfectly shaped and finely delineated miniatures, ranging from six to 11 minutes long. For much of the time, Léandre favours a high, tightly controlled arco full of fragile harmonic overtones that often sounds more like a cello than a double bass. When Harnik responds with pellucid splashes and rippling hazes, the two are capable of creating sustained moods of gentle wonder and delicacy. Léandre adds an element of enigma with her slightly off-mic vocalising: somewhat absent-minded, more overheard than performed, it´s ephemeral, transitory and soothing in its wordless calm, evoking the private musings of a washerwoman at work or a nursing mother cooing her love. One almost feels compelled to lean in and strain the ears, searching for fleeting meaning in her mysterious mutterings.Many of the pieces are so balanced and sensitively executed that they possess a kind of inevitability. Call it perfection if you prefer. By contrast, the more abstract and experimental gambits gleefully ride a puckish unpredictability: the scritch-scratch of agitated piano strings and polystyrene squeak slotting into Léandre´s multiphonic gossamer arco textures; dirge-like dabs of unhurried bass with arachnoid scuttlings in the body of the piano. But, even at its furthest extent, this music emanates a warmth, a patience and, yes, as the title suggests, a tenderness that´s rarely heard." - Ken Vandermark --- Elisabeth Harnik / piano Joëlle Léandre / double bass --- Mastered by Jean-Marc Foussat. Artwork by Lasse Marhaug.

Leandre-Harnik – Tender Music

A 1987 performance between legendary German free-jazz saxophonist/clarinetist Peter Brotzmann and the late legendary American free-jazz guitarist Sonny Sharrock performing live at Jamkulturfabrik in Esch/Alzette, Luxembourg. "Both players engage, respond, bluster, and resolve these eleven pieces with a mutual purpose and a reciprocity of sound. Raw and beautiful like a Paul Gauguin painting." - All About Jazz  "A surprising trademark of this album is the contrast between quiet, meditative, almost mellow passages which are confronted with brutal, distorted and wild parts like in Track 10, it’s an emotional back and forth that structures the music but also affords the listener’s permanent concentration. Another very unusual and exciting characteristic – especially of the first four tracks – is the fact that Brötzmann and Sharrock play harsh, minimalistic – almost hard-rock- like – repetitive breaks (sometimes in unison) which float either into real tunes (for Brötzmann standards) or angry outbreaks." - Free Jazz Collective --- Peter Brötzmann / alto/tenor/bass-saxophone, tarogato Sonny Sharrock / electric guitar --- There is only one prior release existing of Brötzmann and Sharrock as a duo (vinyl-only on Okka Disc 2003). This live recording from the archives of Peter Brötzmann was mixed by Lou Malozzi in Chicago, mastered by Martin Siewert in Vienna.

Brötzmann / Sharrock – WHATTHEFUCKDOYOUWANT

"Found in the archives of FMP!
 The very first – never released – recordings of the Schlippenbach Trio." "Pianist Alexander von Schlippenbach along with Evan Parker on tenor and soprano saxophone and Paul Lovens on drums are one of the longest lasting and most well respected groups in free jazz improvisation. Apparently it all began here on April 2, 1972 during the Workshop Freie Musik at the Acadamy of the Arts, Berlin. It hardly sounds like a first recording, because they come out of the gate with almost telepathic unity on "Deals" which is a continuous collective improvisation lasting over thirty eight minutes. The musicians show an amazing degree of stamina considering that the music is played with a very exciting degree of high energy. While each of these musicians were well on their way to developing their own unique original sounds, Schlippenbach displays a fascinating degree of classical technique filtered through the funhouse fractals of Thelonious Monk's music and Evan Parker's love of John Coltrane is evident. A comparison for Paul Lovens escapes me, but perhaps the fast fleet form of Andrew Cryille or Sunny Murray would be apt. "Deals" is a wonderful roller coaster, most exciting for me when they are barreling ahead full blast with Parker's caustic tone leading the charge over percussive piano and drums. There is quite a bit of dynamism at play as well, the musicians throttle through different speeds and dissolve into solos and duos as the joyride plows onward. Far from exhausted, there are three more shorter improvisations: "Village", "With Forks and Hopes" and then appropriately "Then, Silence." These shorter tracks point to a sharper juxtaposition than the lengthy leading track and show that the group has a wide range and diverse manner of approaches at their command. This was a very enjoyable album, quite exiting in the rough and tumble way that I enjoy, since I often lose my way listening to very quiet and abstract music. This is a must for fans of European free improvisation and is quite interesting in that it shows where the heralded trio got its start." (Music and More) --- Alexander von Schlippenbach / piano 
Evan Parker / tenor and soprano saxophone Paul Lovens / drums --- Recorded by an unknown engineer april 2nd 1972 during the Workshop Freie Musik at the Acadamy of the Arts, Berlin.
All music by Parker/Von Schlippenbach/Lovens
Mastering by Olaf Rupp & Martin Siewert. Produced by Jost Gebers. Cover by Lasse Marhaug. Photos Dagmar Gebers

Schlippenbach Trio – First Recordings

"On a peaceful summer evening in 2002 in the small village of Brösarp in Scania, twelve two- and three-cylinder tractors from the 1950s and 60s were positioned in a semi-circle at a fruit plantation and the sounds of bells ringing can be heard. Before an enthusiastic audience of 1000, the old tractors started their engines and pressed the gas pedals while idling. They raced, purred, played, and sang in the sunset. The landscape in Brösarp is a cultural landscape. With plow, horse, and tractor, it has been created by people. The efforts of generations can be read therein. A cultural landscape is a narrative of the work of people, of their villages and material conditions. Forty and fifty years old, the tractors in Johansson's work are already stories in themselves, and the audience gazes on this evening over a landscape that will soon be a sparsely populated area where not a tractor plows and not a cow grazes. One could thus experience the tractor concert as requiem and lament for a region on its way to disappearing. The tractors sing of a time that has escaped. But if there is no memory, then there is no future. As such, the Konzert für 12 Traktoren is also a work as laudation of work. By the way: if you project a Nuffield 342 faster than light, your vision goes black." --- Tractor drivers: Erland JosefssonKlas BerndtssonLars-Erik OlssonSimon NeumerMagnus HildessonUlf OlssonAnderz ErlandsonPeo LarssonMorgan OlssonChrister OlssonJenny OlssonBo Isaksson -- 12 "Zetor" tractors directed by Sven-Åke Johansson Recorded by Mikael Forsman, Orust, Sweden, 2009.

Sven-Ake Johansson – Konzert für 12 Traktoren

"There is complexity in simplicity, and Sparrow Nights is Peter Brötzmann and Heather Leigh's most enduring record to date, and their first studio album. A series of emotionally rich and boldly elucidated tonal and timbral exchanges played like compositions on pedal steel and reeds, the tracks (released as a 6 track LP and 10 track CD) are cold-forged minimalist blues motifs dragged from instrumental laments.   After three years playing together Brötzmann/Leigh's connection and understanding is by now both cerebral and deeply invested in the physical and sensory possibilities of their combined sound, while retaining a melancholic distance. Within this duo there is fluidity – neither is the anchor – and these recordings sound with as much variety as the sea. At times Sparrow Nights carries the clarity and poeticism of still water and open horizon ("This Word Love"), and at others it contains the elemental and ferocious roar of white water breakers on black rocks ("This Time Around").     On their previous three live albums (Ears Are Filled With Wonder, Sex Tape, Crowmoon) the duo have developed an intimate and intense language that manifests here as a focus on power and control, where figures blasted of unnecessary decoration are drawn from the shadows and smoke of collapse. The studio setting also allows Brötzmann to bring a broader range of reeds than in live scenarios: where previously he has played primarily tenor, clarinet and tarogato with Leigh, here he delivers the heat of alto and the low pressure of bass saxophone and clarinet.  Brötzmann’s duo with Leigh continues to trace a fresh new arc in his trajectory, and this release also falls at a time when Leigh releases Throne, her most song-based record to date. Here as a studio duo they play a new-old blues for times of complexity, noise and chaos, continuing to redefine and re-sound possibilities for improvised music."   

Peter Brötzmann / Heather Leigh – Sparrow Nights