Wednesday, February 22, 2017

Globe Unity Orchestra - 1979 - Hamburg '74

Globe Unity Orchestra 
Hamburg '74

01. Hamburg '74 26:29
Kollision + Explosion
Free Jazz
Kanon Der Frauen "Hammonia" (A Capella)
Hymnus (Klassisch)
"Berliner Luft"
02. Kontraste Und Synthesen 19:11

Alto Saxophone, Tenor Saxophone, Baritone Saxophone – Peter Brötzmann
Bass Clarinet – Michel Pilz
Bass, Tuba – Peter Kowald
Choir – NDR Chor
Clarinet, Tenor Saxophone – Rüdiger Carl
Drums, Percussion – Paul Lovens
Drums, Percussion, Clarinet – Han Bennink
Guitar – Derek Bailey
Piano – Alex Schlippenbach*
Soprano Saxophone, Tenor Saxophone – Evan Parker
Soprano Saxophone, Tenor Saxophone, Flute – Gerd Dudek
Trombone – Günter Christmann, Paul Rutherford (2)
Trumpet, Flugelhorn – Kenny Wheeler, Manfred Schoof

Recorded during the 105th NDR Jazzworkshop, November 19, 1974 at the Funkhaus Hamburg

This date by the Globe Unity Orchestra featured pianist Alexander Von Schlippenbach, guitarist Derek Bailey, drummers Paul Lovens and Han Bennink, saxophonists Peter Brötzmann, Evan Parker, Rüdiger Carl, Gerd Dudek, and Michel Piz, bassist Peter Kowald, trumpeters Kenny Wheeler and Manfred Schoof , and trombonists Paul Rutherford and Günter Christmann -- a completely gone lineup at the height of Euro free jazz in 1974. To add to the drama, the band is joined by the Choir of the NDR Broadcast under the direction of Helmut Franz. All of this was captured at the NDR Jazz Workshop. The first piece here, titled "Hamburg '74," is nearly half-an-hour in length and was scripted by Von Sclippenbach. A spoken word introduction is followed by chatter from the chorus, then by slow, quiet, atonal squeaks and squeals from reeds and brass. Before long the choir enters singing long, languorous anthemic lines in counterpoint before all hell breaks loose at six minutes. Here the band kicks its improvisation in full-force and the choir improvises, too -- individually and collectively! It is one of the most exciting moments in free jazz. Its only equal is that moment on Coltrane's Live In Seattle where he and Pharoah Sanders, going as far as they could go on their horns, put them down and start hollering their improvisations. What happens for the next 20 minutes is indescribably beautiful, wild and wondrous and terrifying in places. The second piece here, "Contrast and Synthesis," is nearly 20 minutes, and though a little more closely scripted in the opening section, it is nonetheless full of pathos and drama as well. Here too, once the band starts collectively improvising away form the composed lines and the choir follows them, the entire sky opens in a fantastic cacophony. This title, originally issued on FMP was released on CD as part of Atavistic's Unheard Music Series.

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