Solo improvisations on alto, tenor, bass sax, clarinet and piano.Ī new trio with bassist Harry Miller and drummer Louis Moholo smoothed out
PETER BROTZMANN SEX TAPE PLUS
(Bennink plays birdcall, wood, trees, sand, land, water, air.).īroetzmann and Bennink also formed a trio with pianist Misha Mengelberg forģ Points and a Mountain (february 1979), containing Broetzmann's 3 Points and a Mountain, as well as 3 Points and a Mountain Plus (same session), containing Broetzmann's The Bar Seems to Vanish in the Distance. Schwarzwaldfahrt (may 1977), recorded in the Black Forest Van Hove also on accordion and Bennink on all sorts of noises,Ī disappointing Solo (may 1976) was followed byĮin Halber Hund Kann Nicht Pinkeln (april 1977), on which Broetzmann played soprano, alto, tenor saxophones, a-clarinet, b-flat clarinet, bass clarinet and piano, while Bennink played piano, drums, viola, banjo and bass clarinet, The two volumes of Outspan (april and may 1974) also featured Mangelsdorff (the 16-minute Serieuze Serie, the 18-minute Outspan No 1 and the 21-minute Ende mit Broetzophon).Īfter another childish endeavour, Tschus (september 1975), with Then, appropriately, recorded the childish Broetzmann/ van Hove/ Bennink (february 1973), featuring Broetzmann on alto, tenor, baritone and bass saxophones as well as on clarinet, Van Hove on piano and celesta and Bennink on all sorts of percussion including a rhythm machine.Įinheitsfrontlied (march 1973) was issued as a single.
PETER BROTZMANN SEX TAPE FREE
The trio jammed with 15 children in the four-side long Free Jazz und Kinder (april 1972). Recorded the exuberant Balls (august 1970), with the 14-minute Balls and the eleven-minute De Daag Waarop Sipke Eindelijk Zijn Nagels Knipte, En Verder Alle Ander.Īugmented with trombonist Albert Mangelsdorff, the trio indulged live in the 20-minute Florence Nightingale, the 15-minute Elements, the 21-minute Couscouss de la Mauresque, the 19-minute Wenn Mein Schaetzlein auf die Pauke Haut and the 23-minute The End, first documented on Elements, The End and Couscouss de la Mauresque, and later collected on Live In Berlin (august 1971).
Trimming down the line-up to a trio with only Van Hove and Bennink, Broetzmann Nipples (april 1969) contained the 15-minute timbral nightmare Tell a Green Man by a quartet with pianist Fred Van Hove, bassist Buschi Niegergall and Dutch drummer Han Bennink, and the 18-minute collective maelstrom Nipples by a sextet with tenor saxophonist Evan Parker, guitarist Derek Bailey, Van Hove, Niegergall and Bennink.Īnother furious performance of the time, the 36-minute Fuck de Boere (march 1970), off Fuck de Boere (2001), featured Breuker, Parker, Van Hove, Bennink, guitarist Derek Bailey and four trombones (Malcolm Griffiths, Willem van Manen, Buschi Niebergall, Paul Rutherford). Sheer intensity replaced the concepts of order and structure. Machine Gun (may 1968), performed by an octet with three saxophonists (Broetzmann, Willem Breuker, Evan Parker), piano (Fred Van Hove), two basses (Kowald and Buschi Niebergall), two drummers (Han Bennink and Johansson). On a seminal recording of European free-jazz, His torrential, incendiary language, partially borrowed from Albert Ayler's harshest tones after removing the lyrical subtleties, set the pace forīreuker's eleven-minute Music for Han Bennink Sven-Ake Johansson that recorded For Adolphe Sax (june 1967), containingįor Adolphe Sax (19 minutes) and Morning Glory (16 minutes),Īnd eventually merged into Alexander Schlippenbach's Globe Unity Orchestra. Who studied visual arts and joined the Fluxus movement,įorming in 1965 an influential trio with bassist Peter Kowald and drummer German extremely dissonant saxophonist Peter Broetzmann (1941),
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( Copyright © 2006 Piero Scaruffi | Terms of use)īroetzmann/ van Hove/ Bennink (1973), 5.5/10Įin Halber Hund Kann Nicht Pinkeln (1977), 5/10ģ Points and a Mountain Plus (1979), 5.5/10 Peter Broetzmann: biography, discography, review, ratings
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