#PETER BROTZMANN NIPPLES SERIES#
#PETER BROTZMANN NIPPLES FREE#

The Drag City label has also engaged in a bit of musical archaeology recently, reissuing Our Solar System and Sing No EvilвЂ“two rare Half Japanese albums originally released by the tiny Iridescence label in 1984. The liner notes were written by Mats Gustafsson, who claims them as a big influence. And Waves From Albert Ayler is an obscure 1975 recording by SwedenвЂ™s Mount Everest Trio the cover, on which the players look like prog rockers gone to seed, belies the Ayler-esque intensity and Ornette Coleman-esque lyricism of the recording.

#PETER BROTZMANN NIPPLES FREE#

On Nation Time, recorded live in 1970, Joe McPhee rips through a hard-driving, electrified mix of funk, blues, and free jazz on tenor sax and trumpet. 1 is a previously unreleased 1980 live recording of saxophonist (and Velvet Lounge proprietor) Fred Anderson while itвЂ™s always a treat to hear his burly tenor and trademark serpentine licks, the bonus here is the presence of his infrequently recorded sidekick, trumpeter Billy Brimfield. The other releases are pretty exciting too: The Milwaukee Tapes Vol. The title track is a legendary riot in which six titans of improvised musicвЂ“including Evan Parker, Derek Bailey, Fred Van Hove, and Han BenninkвЂ“battle it out, but the real gem is вЂњTell a Green Man,вЂќ a quartet piece beautifully recorded by legendary Krautrock engineer Conny Plank and featuring an exhilaratingly kinetic extended dialogue between Bennink and bassist Buschi Niebergall. The most anticipated of the batch is Nipples, a vicious and extremely rare 1969 recording by German saxophonist Peter BrГ¶tzmann.

#PETER BROTZMANN NIPPLES SERIES#

ItвЂ™s been a busy spring for Empty Bottle jazz promoter John CorbettвЂ“in addition to planning the Jazz and Improvised Music Festival, he recently released four discs on his Unheard Music Series label, which is manufactured and distributed by Atavistic Records. Jaume, playing clarinet and tenor saxophone, will perform a solo tribute to Giuffre on Saturday night at the Bottle. Jaume began a longtime association with Giuffre in 1986, studying with him in Boston, and two years later they recorded a beautiful series of duets, Momentum, Willisau 1988 (re-leased by Hatology in 1997).

He played on the McPhee classics Oleo and Topology, but one of his finest recordings with the multi-instrumentalist was 1992вЂ™s Impressions of Jimmy Giuffre (CELP), an homage to the reedist who introduced small-group collective improvisation and an emphasis on pure sound to jazz several years before Ornette Coleman made his first recordвЂ“and who continued to set new standards for the music, especially in his early-60s chamber-jazz trio with Paul Bley and Steve Swallow. Jaume, whoвЂ™s based in Marseilles, is perhaps best known to American audiences as a collaborator of Joe McPhee. Floridis will be joined by Kowald and German percussionist GГјnter вЂњBabyвЂќ Sommer (see CriticвЂ™s Choice) on Friday night, and on Saturday afternoon heвЂ™ll play in an all-reed trio with Jaume and Ken Vandermark at the Cultural Center. On Pyrichia (released on his own Ano Kato label in 1991), with German bassist Peter Kowald and Greek lyrist Ilias Papadopoulos, he plays with muscular authority and acrobatic flexibility he can uncork a choked, raspy blurt one minute and unspool a long, elegant line the next. Floridis has also recorded rembetika (the guttural вЂњGreek bluesвЂќ) and lightning-fast Macedonian brass-band music, and brings a rough-hewn microtonality and thick, sensuous tone to collaborations with his northern counterparts. In the first three years the lineups included musicians from Japan, Italy, Sweden, the Netherlands, England, Germany, Belgium, Austria, and Switzerland this year, Greece and France get thrown into the melting pot as clarinetist Floros Floridis and reedist Andre Jaume perform in Chicago for the first time.ДЇloridis is from the northern city of Thessaloniki, where Greek and Balkan cultures mingle freelyвЂ“and where the clarinet plays a more prominent role in music than it does in western Europe.

Next year the Empty Bottle Festival of Jazz and Improvised Music should add the word international to the name: in its brief history it has presented the localвЂ“and sometimes nationalвЂ“debuts of some of the most important and interesting players in Europe and Asia.

Peter brotzmann nipples