Here's my third compilation - made from parts of this 3 LP release.
At least one track was reissued (completely) on CD: Peter Brötzmann's "Fuck de Boere".
The track from the Modern Jazz Quintet Karlsruhe is also an excerpt - I shall post a longer version of it's title and more here on IS.
The track from the European Free Jazz Orchestra & AACM (broadcast) was posted in blogland some time ago.
For a complete rip (mp3-128) you can go to > http://schnickschnackmixmax.blogspot.com/2011/03/born-free-jazz-festival-frankfurt-marz.html
The quality of the LP's sound is not the best - like a good bootleg - as far as I know it IS a bootleg.
Released without the permission/knowledge of the musicians.
All in all a really interesting LP with some rare recordings - for example an early example of Günter Christmann - before his groundbreaking duo with Detlev Schönenberg.
I removed some heavy clicks and pops - that's all.
Enjoy!
BORN FREE (Compilation)
CD 1
1. Free Jazz Group Wiesbaden
Michael Sell, trumpet;
Dieter Scherf, alto, soprano saxophones, piano
Gerhard König, guitar, flute
Wolfgang Schlick, drums
"Frictions" [excerpt] (08.32)
2. Frankfurter Trio für improvisation
Christian Möllers, clarinet
Wolf Burbat, flute
Klaus-Henning Usadel, bass
"Invention 2" (03.19)
3. Limbus 4
Odysseus Artner, Bernd Henninger,
Matthias Knieper, Gerd Klaus, percussion and diverse instruments
"Kundalini" [excerpt] (04.38)
4. Frédéric Rabold Crew
Frédéric Rabold, trumpet, altohorn
Ulrich Schwarz, soprano & tenor saxophone, flute
Helmut Wilberg, alto & baritone saxophone
Walter Hüber, baritone & bass saxophones
Jochen Nitsche, electric bass
Holger Mayer, bass
Martin Bues, drums
"Tangente" (06.40)
5. Jazzworkers
Axel Hennies, tenor saxophone, flute
Michael Thielepape, alto & soprano saxophone
Ulrich Maske, guitar
Günter Christmann, bass, trombone
Rainer Grimm, drums
"Action Playing" [excerpt] (07:44).
6. Just Music
Dieter Herrmann, trombone
Alfred Harth, tenor saxophone, clarinet
Johannes Krämer, guitar
Thomas Stövsand, cello
Franz Volhard, cello
Peter Stock, bass
Thomas Cremer, drums, clarinet
"März 1970" [excerpt] (09:43)
7. New Jazz Trio
Manfred Schoof, trumpet, fluegelhorn
Peter Trunk, bass
Cees See, drums
"Satz 3" (05:43)
8. Pierre Favre Group
Juerg Grau, trumpet, guitar
Trevor Watts, alto & soprano saxophone
Irene Schweizer, piano
Pierre Favre, drums
"Siddharta" [excerpt] (06:07)
9. Joachim Kühn Group
Joachim Kühn, piano, alto saxophone
J.F. Jenny-Clarke, bass
Jacques Thollot, drums
Rolf Kühn, clarinet
"Rue de la Boule Rouge" [excerpt] (6:08)
10. Gunter Hampel Group
Jeanne Lee, voice
Gunter Hampel, flute, bass clarinet, vibraphone, piano
Willem Breuker, saxophones
Willem van Manem, trombone
Maxine Gregg, cello
Jack Gregg, bass
Arjen Gorter, bass
"Centering" (14:14)
11. Albert Mangelsdorff Quartett
Albert Mangelsdorff, trombone
Heinz Sauer, tenor saxophone
Günter Lenz, bass
Ralf Hübner, drums
"Blues Booth" (06:21)
CD 2
1. Festival Big Band
Conny Jackel, Manfred Schoof, Frédéric Rabold, Ferencz Aszodi, trumpets
Albert Mangelsdorff, Rudi Fuessers, Egon (Günter?) Christmann, Peter Herbolzheimer, trombones
Emil Mangelsdorff, Jaki Freund, Heinz Sauer, Günter Kronberg, Gerd Dudek, saxophones
Fritz Hartschuh, vibraphone
Volker Kriegel, guitar
Günter Lenz, bass
Ralf Hübner, Kurt Bong, drums
"Noisy Silence, Gentle Noise" (06:27)
2. Dave Pike Set
Dave Pike, vibraphone
Volker Kriegel, guitar
Hans Rettenbacher, bass
Peter Baumeister, drums
"Turn Around Mrs Lot" (13:15)
Recorded on 21 and 22 March 1970 at the 12 German Jazz Festival, Frankfurt am Main, Germany.
Cover has number Scout ScS 11; the three LPs are numbered Scout ScS 12 - 14.
Note: [excerpt] > as on the LPs!
.
All that i recorded of the Hampel/Lee Duo that far summer :
probably not the complete concerts.
Rec. live at "Teatro Tenda", Florence, on July 6 and at "Piazza
dei Cavalieri", Pisa, on July 10, 1978 (mics recording)
Gunter Hampel,vibraphone,bass clarinet,flute
Jeanne Lee,vocal
1. Florence #1 (12:24)
2. Florence #2 (09:34)
3. Florence #3 (11:42)
4. Florence #4 (11:05)
5. Pisa #1 (13:25)
6. Pisa #2 (11:24)
7. Pisa #3 (08:46)
Total Time 1:19:23
I've been plainly delighted to see so many Jeanne Lee postings on this blog lately, so what else to do but to top it with yet another Jeanne Lee performance? This concert is nothing less than marvellous imho and here she is joined by a stellar crew as follows:
Jeanne Lee: voice
Milène Bey voice (tracks 3-5-6-7)
Mark Whitecage: as, fl, sound sculptures
Gunter Hampel: bar-sax, vibes, fl
Reggie Workman: b
Andrew Cyrille: dr
The tunes:
1. The Subway Couple [Lee] 06:52
2. Untitled ("Bruckner Boulevard") [Lee] 06:19
3. News Watch [aka "Dandelion Wine") [Robinson/Lee] 10:31
4. I like your style (voc/b/d only) [Bues/Lee] 04:31
5. untitled? ("No matter where you go...") [Bey] 04:56
6. Serenade for Marion Brown [Hampel/Lee] 17:28
7. Sun Dance [Lee] 10:14
Most of these tunes are what Jeanne Lee call "tone poems", at times mundane stories and events, even news items, set to jazz rhythms. Roped in here is the exquisite rhythm section of Reggie Workmnan and Andrew Cyrille who deliver a strong groove behind Jeanne's vocal improvisations. An added bonus of great significance is Milène Bey (see pic above), French of Martinique extraction, who followed a career in dance and music in NY in the 80s until she returned to her native Martinique in the mid-90s. She penned the fifth tune, performed in French, quite a tricky one, which Jeanne Lee doesn't quite get the hang of. Probably, with the benefit of hindsight, it would have been better to let Bey take the lead, but never mind.
My particular favourite is the 10-minute "News Watch" where Bey is joined by Bey providing a fine vocal counterpoint and with Workman right behind with some very expressive bass work and Cyrille plying the sticks lightly and elegantly. But all tunes are fine and on the final one, Bey gets to let loose on some daring vocalisations.
Jeanne Lee died in 2000 from cancer which would have been treated had she been able to afford medical insurance which she could not. Money makes the world go around, doesn't it? She would have been seventy on 29 January 2009 (so a belated 70th anniversary commemoration to her). History would have it that Milène Bey were to succumb to cancer in 2006 on Martinique.
Upped by ........... so a tip of the hat for that. This one goes out both in flac and mp3. I would advise downloaders to get the flacs, even if it may take a bit longer. Superb sound throughout. Pic of Jeanne Lee courtesy of Amir Bey who also happened to be Milène Bey's husband until their separation and her return to Martinique. Check out the fine web site at http://thenewtimesholler.com/index.html.
March 26, 1972 Frankfurt, Germany
Günter Christmann - tb
Gunter Hampel - ss, bcl
Lou Gare - ts
Evan Parker - ss,ts
Perry Robinson - cl
Alex Schlippenbach - p
Cornelius Cardew - cello
Keith Rowe - g
Buschi Niebergall - b
Eddie Prevost - per
Jeanne Lee - voc
Review:
AMM with the Gunter Hampel Group
March 26th 1972
Deutsches Jazzfestival, Frankfurt Germany
This is without a doubt the single strangest recording in my AMM archives. It basically is a huge jazz group that ranges from bop to fairly free with AMM buried somewhere in there. Prévost seem relatively content with to throw in some serious drumming along with his more percussive work, and Gare mixes his sound oriented sax with some more tonal lines. The first time I heard this I just assumed this was the duo AMM, which as they broke up in early 1972 made sense. But on doing some research and some close listening it does seem that Rowe and Cardew are present. Rowe seems to be laying out or perhaps just completely buried for nearly the first half, but then those scrabbling manipulated pickups of his can be heard coming and going depending on how much else is played. As for Cardew, well it’s impossible to really say, there does seem to be some of his dry bowing now and again, but impossible to say that it wasn’t the bass player or even another instrument. March 26th 1972, is right on the cusp of the disintegration of the quartet AMM; by the end of the month Rowe would have left the group with Cardew to follow shortly.
What is particularly bizarre about this recording is that if it is the quartet AMM it seems diametrically opposed to all that they espoused. The jazz that they had turned away from is the primary form here with continuous scatting from Jeanne Lee dominating this performance. Evan Parkers playing is a bit more sympathetic to AMM but here it leans toward tonal lines or fiery blasts, two poles this group swings wildly from as if they were a revue of the last decade of jazz. Rowe’s completely non-idiomatic guitar just sounds like noise on the tape and I suspect would be dismissed as such by your average jazz fan. Speaking of which your average jazz fan, one who could find nothing to like about AMM could get right behind this recording.
All in Together Now (G. Hampel)
Günter Christmann (trombone); Gunter Hampel (soprano sax, bass clarinet); Lou Gare (tenor sax); Evan Parker (soprano sax, tenor sax); Perry Robinson (clarinet); Alexander Von Schlippenbach (piano); Cornelius Cardew (cello); Keith Rowe (guitar, etc.); J.B. “Buschi” Niebergall (bass); Eddie Prévost (drums, percussion, etc.); Jeanne Lee (vocals); Unknown (announcer)
The recording begins with an intro in German that announces AMM “from London” and then the members of the Gunter Hampel group. The music comes right up with a bit of brushes on a ride cymbal and then some piano chords kick in. Melodic sax line over the top of this and then a bit of vamping background sax. A bit of discord between the saxes and then everybody is playing in this swirling miasma of sound. Very free jazz, nothing super out but only loosely connected. And then begins the vocalizations. Jeanne does either abstract vocalizations or scatting for pretty much the rest of the set with only a few short breaks. Lots of right up front drumming, a feature that runs through the bulk of the set it no matter how abstract it gets. The drums and the vocalizations are a constant and it really grounds the piece and keeps it from exploring new territory. Trumpet bleats come and go, some odd squiggles in the background, probably from Gare. Around thirteen minutes in things mellow way out, with the drumming at its most sedate, long vocalizations from Jeanne, and drawn out tones on the horns. But as is always the case in free jazz the mellow parts just serve to emphasize the active parts and it picks right back up with wailing sax, maddening drums and vocal wailing. This continues apace for some time, leading to a section with some real upfront scatting. Then another drop out, with just some cymbal work, low volume snare rolls (Prevost?), sax squeaks (Gare?) and a splattering of piano, under the scatting.
Finally she drops out and it is just piano and very quiet trombone. Some bass plucking comes into this, almost a solo with scattered drums and a almost mechanical sound very quiet. Some electronic-ish sounding squiggles, the first obvious sign that Rowe is actually present. Then the scatting comes back up. The electronic scrabbling becomes a bit more aggressive, piano now being constantly played, though fairly low in the mix, Gare style abstract sax-work also fairly quiet. After this more down-tempo, almost AMM-ish interlude things explode again. Off the hook trombone, the scatting fast and furious, piano chords being pounded out, a drum “solo” level freakout, scrabbling on the guitar a total miasma of sound. Very dense now, the vocals drop out and there is some serious sax work. recognizable as Parker. Then as the vocals come back in, everything drops out but piano tinkling and a low plaintive horn. A lazy baseline drifts through, a bit of scrabbling guitar. One sax line comes in, then goes, then another and so on. Runs on the piano, some skronks and squeaks, the scatting now right up front and rather guttural. The energy isn’t so high but everyone seems to be coming back in for one last go around as the piece is in it’s final minutes. The track then ends with just as honking horn as Jeanne gives us a “Thank you very much”. Then applause and one last bit of sax probably from Parker.
This recording really raises far more questions then I have answers for. It could be that at this festival the organizers threw all these people together in the end for a “large group” and they all played along. Perhaps in the end this quote from John Tilbury is what we have to be satisfied by:
“Sometimes, when other people play with us, and because it’s a little bit unfamiliar to them, they’ll do something, and I think, ‘Well, what do you do when somebody does something that you don’t like?’ You can’t go up to them and say, ‘Don’t play that!’ You have to somehow take them by the hand and lead them somewhere else - but then why should you even do that? Maybe they don’t like what you’re doing, so who am I to judge? That’s not just a musical question, that’s also an ethical question.”
-John Tilbury (3)
Yet another wonderful Contribution from Anonymous P...
Again there seems to be little info about this lp anywhere on line..For those who aren't familiar with hampel's oeuvre, i suggest a visit to his own comprehensive website.
http://www.gunterhampelmusic.de/
http://www.gunterhampelmusic.de/about_gunter/mygunterlife-2.html
GUNTER HAMPEL - (BALLET) SYMPHONY NO. 5 & 6
Birth, 003, 1971
side 1:
BALLET - SYMPHONY NO.5
NYC, Jan 1970
Jeanne Lee - voc
Maxine Gregg - cello
Jack Gregg - b
Bob Moses - d
GH - fl, vib, perc
side 2:
SYMPHONY NO. 6
Den Haag, May 1971
Michel Waisfisz - putney synth
GH - ss, vib, ocarina
see also
http://www.bagatellen.com/?p=2029
Glmlr says "For the record, and perhaps for those who weren't then born, but also perhaps for Americans too, it's worth taking a moment just to step back and ponder the extraordinary length, breadth, height, depth and width of Gunter Hampel's remarkable contribution to improvised music. Some of his earliest moments were, in my opinion, his finest. His early bands, 1964/65, had some then-unknown sidemen named merely Manfred Schoof, Alexander von Schlippenbach, Buschi Niebergall, and Pierre Courbois. He was one of the original members of the Globe Unity Orchestra, and an early collaborator of Willem Breuker. His 1968 band included an unheard-of guitar player named John McLaughlin. His marriage to vocalist Jeanne Lee brought in a black-American consciousness to his music. His extensive Birth label did much to document not only his own path and direction, mostly on vibes and bass-clarinet, but that of a vast number of ad-hoc collaborators from both continents. In short, this fellow is a walking encyclopaedia of one corner of free-jazz and free improvisation. May the gods bless him."
Another contribution from an Anonymous friend, i havent been able to find a cover image of this one, which seems to be one of the few earlier Birth albums that has not been reissued...although there is evidence that one online seller on Ebay has cdr's for sale.
A search here confirms it's unavailability
http://www.gunterhampelmusic.de/birth_records/birth037.html
Perhaps Hampel has chosen not to reissue this on the grounds that the original recording is so flat and one dimensional.
none the less the music is quite exceptional, a largely free improvised set ..its all more or less one free floating piece.
Great to hear Anthony Braxton on contra bass clarinet especially this vintage and setting... spine chilling stuff.
There is an ethereal quality to this wonderfully spacious set ..that could perhaps (heresy of heresie's) have used the slightly reverby ,crisp production values of a Manfred Eicher.
THANKS again anonymous for the opportunity to hear this unique combination of individuals in such a free wheeling setting.
ripped from vinyl at 320kbs
anon says...
ANTHONY BRAXTON / GUNTER HAMPEL / JEANNE LEE - FAMILIE
Concert In Paris, Theatre du Moffetard, April 1st, 1972
Birth LP, 008
GH - b cl, fl, vib, ss
JL - voc
AB - as, fl, cl, cb cl, ss
(ripped direct from LP - the muffled sound quality is unfortunately due to the lo-fi sound of the original recording)