Top 25

jazzwerkstatt

jazzwerkstattFörderverein werkstatt Berlin-Brandenburg e.V. • Altvaterstr. 3 • 14129 Berlin Germany e-mail: [email protected] • www.records-cd.com • www.jazzwerkstatt.eu

jazz •

TOP 25 JAZZ - 2013

JAZZ

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KOMEDA - THE INNOCENT SORCERER

JW 104ADAM PIERONCZYK QUINTET

02.

LIVE IN BERLIN

JW 035DAVID MURRAY QUARTET

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FOR THE LOVE OF ORNETTE

JW 090JAMAALADEEN TACUMA / ORNETTE COLEMAN

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NO COMMENT

JW 113PIRODDA / PEACOCK / MOTIAN

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YES WE CAN

JW 098WORLD SAXOPHONE QUARTET

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FULL BLAST

JW 001BRÖTZMANN / PLIAKAS / WERTMÜLLER

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LIVE IN BERLIN

JW 022STEVE LACY / MAL WALDRON

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FIVE FACINGS

JW 025STEVE LACY & FIVE PIANISTS

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LIVE AT JAZZWERKSTATT PEITZ

JW 032BAUER / TROVESI / DIESNER / OXLEY

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AMARCORD

JW 082TRIO DOLCE VITA

11.

DARLINGTONIA

JW 112SILKE EBERHARD / DAVE BURRELL

12.

DELL WESTERGAARD LILLINGER feat. TCHICAI

JW 128 TCHICAI / DELL / WESTERGAARD / LILLINGER

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ORNETTE COLEMAN ET CETERA

JW 115PETROWSKY / BRÜNING / GRIENER / PRINS

14.

INSIGHT

JW 116 LEE KONITZ / FRANK WUNSCH

15.

UNTITLED

JW 081 HENRIK WALSDORFF TRIO

16. TURNAROUND

THE MUSIC OF ORNETTE COLEMAN

JW 079DAVE LIEBMAN GROUP

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PEITZER GRAND MIT VIEREN

JW 077SOMMER / PHILLIPS / TROVESI / SCHOOF

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LIVE AT THE LOWER MANHATTAN OCEAN CLUB

JW 073DAVID MURRAY

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NEWS? NO NEWS!

JW 068ULLMANN / SWELL 4

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COLTRANE CONFIGURATIONS

JW 066JAMAALADEEN TACUMA

21.

EL BUSCADOR

JW 064ADAM PIERONCZYK QUARTET f. ANTHONY COX

22.

ZWEI

JW 061JAMAALADEEN TACUMA / UWE KROPINSKI

23.

SUITES

JW 054ULRICH GUMPERT WORKSHOP BAND

24.

ONLY THE DEVIL HAS NO DREAMS

JW 013SONORE

25.

A SHORT HISTORY

JW 099ROVA SAXOPHONE QUARTET

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jazzwerkstatt

This recording presents Krzysztof Komeda’s music in a whole new light, complete with a sparkling new sound. There is nothing of the museum piece about these light-footed, dancing compositions, well-deserved though their place in the musical halls of fame is. This not the Komeda we know, yet the music is neither less profound nor less moving, for Adam Pieronczyk knows that not imitating Komeda is the only way to get close to him. "The Innocent Sorcerer" deserves its own page in the illustrious history of Polish jazz, which emerged from the catacombs to bask in the sunlight of the 1950s when jazz pianist, composer, and band-leader Komeda produced such masterpieces as "Astigmatic". Tributes from distinguished fellow musicians were not long to follow.Adam Pieronczyk approaches Komeda by trying to understand the essence of his music rather than attempting to imitate his sound. Crucially, he does not use the instrument most closely associated with Komeda – the piano. The classical guitar creates a breezy atmosphere, the strings are made of nylon rather than steel, and percussion takes precedence over drums. The performers include two American free spirits, one on bass and another on a parallel flight-path to Pieronczyk. Echoes of Coltrane, harmonies by Bill Evans, a Latin lightness, the players’ own sensibilities and Komeda’s themes make up these profound earcatchers. Bert Noglik

This new recording features the Black Saint Quartet in Murray'scurrent dream line-up: Murray (born 1955), bassist Jaribu Shahid and drummer Hamid Drake (who both belong to his own generation), and pianist Lafayette Gilchrist (13 years younger). Gilchrist replaced Murray's long-time friend John Hicks. When Hocks died in 2006, he left a book with several hundred pages of sheet music that rested on Gilchrist's grand piano during the concert. "The David Murray Power Quartet Book" is written on the cover in black felt-tip pen. Hicks gave it to Gilchrist as his legacy before he died.The cooperation with Shahid and Drake documented on this CD was a whole new experience for Murray. They all know each other very well and have walked many a mile together in music. However, this is the first time that Murray is the leader of a band where he isn't a junior, let alone the youngest member.David Murray has changed, particularly from his own perspective. He goes into raptures about the chord sequences in Tranish "Murray Steps" and "Waltz Again", a composition dedicated to his father. Today, he is able to weave even the most unbending cries of his tenor - the Murray moments of yore - smoothly into the frame of his classic quartet sound. Christian Broecking

jazzwerkstattJW 104CD

jazzwerkstattJW 035 CD

Wicker Basket Kattorna Sleep Safe and Warm (from "Rosemary’s Baby")Crazy Girl After The Catastrophe Roman ll Kattorna (reprise)recorded November 14 & 15, 2009 at Sound & More in Warszawa / Poland

Murray Steps (inspired by "Giant Steps")Waltz Again Kiama BanishedSacred Groundrecorded live at Radialsystem V, Berlin / Germany Festival "La Notte Italiana", November 11, 2007

Adam Pieronczyk - soprano & tenor saxophoneGary Thomas - tenor saxophoneNelson Veras - guitarAnthony Cox - double bassLukasz Zyta - drums, percussion, typewriter

David Murray - tenor saxophone, bass clarinetHamid Drake - drumsJaribu Shahid - bassLafayette Gilchrist - piano

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ADAM PIERONCZYK QUINTETKOMEDA - THE INNOCENT SORCERER

DAVID MURRAY QUARTET LIVE IN BERLIN

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The album "For the Love Of Ornette" presents Jamaaladeen Tacuma with his mentor and longtime band leader Ornette Coleman, the ingenious saxophonist, composer and harmolodic musicologist as a guest soloist. The recording will highlight two important works, a composition that Ornette wrote for Jamaaladeen entitled "Tacuma Song", which Jamaaladeen featured on his first solo album onGrama- vision records entitled "Showstopper", this Album was very special and was a result of the encouragement and musical mentorship Jamaaladeen received as a band member in Prime Time. It marked a turning point in his career where he moved from Band member to Bandleader. In turn Jamaaladeen composed a song for Ornette called "For The Love Of Ornette", that will be debuted on this new release. The musicians that are also performing are among the best and brightest on the scene today they include: Tony Kofi from the UK who is the recipient of the BBC Award and Parliamentary Award, Wolfgang Puschnig musical veteran from Vienna on Flute and Hojak, virtuoso pianist Yoichi Uzeki from Tokyo and an up and coming Young Lion 19 year old Justin Faulkner from Philadelphia on Drums who Jamaaladeen discovered when he was just 13 years of age. Also a special appearance is made by David "Fingers" Haynes on Drums another innovator in his own right in the technique and technology of electronic drumming. For Jamaaladeen, this is a dream come true to work with his mentor who discovered him at age 19. It is Jamaaladeen’s way of saying thank you Ornette for sharing your musical knowledge, wisdom and human experience with him, that has carried him throughout his solo musical career.

jazzwerkstatt

Hard to believe really, but the album whose booklet you hold in your hands is only the fifth in Augusto Pirodda’s discography. Yet as soon as you hear the first simple motif you will realize that the person sitting at the piano is no rising star hoping finally to achieve a breakthrough with a flurry of notes. Rather his journey of discovery took him to New York, to a studio together with Gary Peacock and Paul Motian."It Begins Like This…" - the first bars of the album are called, and not without reason: they literally document the beginning of the recording – namely, the sound check in the studio. The trio’s improvisation holds the attentive listener spellbound. No cautious fumbling for notes here, no jostling for hierarchies, and certainly no routine monotony. The three musicians harmonize as a trio. When you think about it, really a rather unspectacular process that takes place everyday in studios all over the world – and yet each time this kind of collaboration succeeds it is always a minor miracle.It is logical that the trio should have chosen the track "No Comment" as the title for their album. After burning the finished recordings onto a CD for the first time, he wrote the names of the performers on the cover: Augusto Pirodda – Gary Peacock – Paul Motian. "What else should I add? Fortunately, we had this wonderful piece of music in our repertoire, for ‘No Comment’ is really the only conceivable title."



JOURNEYFOR THE LOVE OF ORNETTE For The Love of Ornette EAST WIND Movement 1For The Love of Ornette DRUM & SPACE Movement 2TACUMA SONG For The Love of Ornette FORTWORTH FUNKY STOMP Movement 3Tacuma Song CELESTIAL CONVERSATIONS Movement 1Tacuma Song VIBE ON THIS OC Movement 2Tacuma Song CELEBRATION ON PRINCE STREET Movement 3recorded at MSR Studios, New York, NY, June 21, 2010

It Begins Like This...Seak FruitsBrrribop!!!No CommentSo?Il suo preferitoI Don’t KnowOlarecorded at Systems two Studios, Brooklyn (NY), April 4, 2009

Jamaaladeen Tacuma - bass guitarOrnette Coleman - alto saxophone, wisdomTony Kofi - tenor saxophoneWolfgang Puschnig - flute, hojakYoichi Uzeki - pianoJustin Faulkner - acoustic drumsWadud Ahmad - spoken word / David "Fingers" Haynes - finger drums

Augusto Pirodda - pianoGary Peacock - double bassPaul Motian - drums


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JAMAALADEEN TACUMA / ORNETTE COLEMAN FOR THE LOVE OF ORNETTE

AUGUSTO PIRODDA / GARY PEACOCK / PAUL MOTIANNO COMMENT

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The Collective of Mentors and the Organization of the Avant-gardeThe expressions of all four men are radiant. The weeks since President Obama’s inauguration have had the desired effect: The prevailing mood is full of optimism. Things were very different three years earlier, when the World Saxophone Quartet released their "Political Blues" CD and aimed to settle their scores with the Bush administration and the Marsalis counterrevolution in one fell swoop. David Murray says that Obama has a soft spot for Jazz. He grew up with the music of Taj Mahal, a good friend of Murray’s. "They got to know each other in Hawaii, and Obama asked Mahal to support his presidential campaign. He also knows about us, and of course he knows Amiri Baraka. He’s not a stranger, he’s someone we know and trust.Murray cares about organizing the avant-garde and expanding its compositional potential. "I’m talking about the great contributions of Sun Ra, Julius Hemphill, Duke Ellington, George Russell, and Cecil Taylor – composers who have done so much to redefine the avant-garde. I also realized how great an innovative force jazz can be when I engaged with other cultures." Christian Broecking

A Swiss-German power Trio of the special class! The father of the European Free Jazz Peter Brötzmann, is the best and Wertmüller - belongs also to the best of Berlin music scene. Wertmüller is drummer of the cult band Alboth. (The Munich Merkur writes: "ALBOTH is from another star. ALBOTH separates of any form of the allocation.Have you already heard Schönberg on Crack?) Marino Pliakas is well-known as the strong bass guitarist of Steamboat, Switzerland - the only possible future of the Post Rock, hardest working group in the Noise Biz, which made fantastic performance, Hardcore, Prog Rock and noisy improvisations (Cologne city revue). The three musicians creating a musical cosmos between Ambient and Free jazz, New Music and Trash Metal, present in impress trio format.



Hattie Wall The River Niger Yes We CanThe God of PainThe Angel of PainThe Guessing GameLong March to Freedomrecorded March 28, 2009 during Discover Us! at Kino Babylon, Berlin

Full Blastrecorded live at the Loft/Köln, February 6 / 2006

Hamiet Bluiett - baritone saxophone, clarinetKidd Jordan - alto saxophoneDavid Murray - tenor saxophone, bass clarinetJames Carter - tenor saxophone, soprano saxophone

Peter Brötzmann - alto- & tenor saxophone, tarogatoMarino Pliakas - electric bassMichael Wertmnüller - drums


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WORLD SAXOPHONE QUARTET YES WE CAN

BRÖTZMANN / PLIAKAS / WERTMÜLLER FULL BLAST

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A duo performance like a comprehensive objet d'art, music shaped by movement, rhythm and ease, poetic and embellished with architectural and choreographic elements - a consolidated work of art that made the stage lift off! Lacy and Waldron started working together in the mid-1950s when they recorded Reflections (Prestige) which featured only Monk compositions. Monk's heritage was the foundation that saxophonist Lacy and pianist Waldron built their musical relationship on, a relationship that got increasingly closer.Whoever was lucky enough to witness their 1984 live performance in East Berlin must have felt like browsing a familiar reference book that had repeatedly been pondered and polished over. We can hear Lacy and Waldron tap their feet to the beat and let their voices go along with their fingers. We instinctively follow that double-headed organism become one, in a free flow of the senses that had been spreading through the audience from the very beginning of the show, the music unfolding in perfect harmony. Their introductory improvisation evokes one memory after another, subsequently brought to life with pieces written by Lacy, Strayhorn, and Waldron. Finally, Monk's masterpiece Epistrophy completes a beguiling journey, the course of which only became clearly visible during our travels, when we leisurely drifted along in twists and turns to experience all those fascinating breakaways, skillful moves and brilliant interlacings. Is it magic? Is it hypnosis? We lose our bearings between straightforwardness and precariously entangled notes which self-ignite at their very end when Lacy and Waldron lift off and take us on a journey to the Berlin sky… Guillaume Tarche

jazzwerkstatt

Apart from being one of the most influential soprano saxophonists of the 20th century, Steve Lacy was also the most important interpreter of music written by Thelonious Monk. Lacy represents an avant-garde that investigates and explains the past in order to create a future free of totalitarian visions. To this end, Monk provides tons of material to explore, his top-notch compositions being milestones of 20th century music. Monk's special quality is sometimes described by a dictum that was originally derived from 20th-century architecture and has become a keynote of modern philosophy: Less is More. Like Monk, Lacy has repeatedly been summarized under that headline. Indeed, what initially seems to be Less in both Monk's and Lacy's music, will sooner or later evolve into a wonderful More.And we can even hear it grow, as their sonic architecture is built on solid blocks. A great example was FMP's Free Music Workshop in 1996: Apart from Lacy, who performed on each of the five nights, five pianists were invited, a duo with each of them being part of Lacy's program. The saxophonist took the occasion to illustrate the entire history of his instrument. From a communications theory point of view, this project is one of the rare answers to Bazon Brock's indisputable witticism: "We must communicate because we don't understand each other." Markus Müller



Improvisation Blinks A flower is a lovesome thing Snake out Epistrophyrecorded live at Jazzbühne, Berlin, 1984

The Crust / Blues For Aida (Lacy & Crispell) Off Minor / Ruby My Dear / Evidence (Lacy & Mengelberg) Art (Lacy & Gumpert)Twenty One (Lacy & Van Hove)The Wane (Lacy & Miller)recorded live during "Workshop Freie Musik", April 4-8, 1996 at Akademie der Künste, Berlin

Steve Lacy - soprano saxophoneMal Waldron - piano

Steve Lacy - soprano saxophoneMarilyn Crispell, Ulrich Gumpert,Misha Mengelberg, Vladimir Miller, Fred Van Hove - piano


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STEVE LACY & MAL WALDRON LIVE IN BERLIN

STEVE LACY & FIVE PIANISTS FIVE FACINGS

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September 1981 at Filmtheater der Stadt Peitz, a movie theater in the East German smalltown of Peitz. Radio guys show up at the cinema to record what Konrad Bauer once described as "ephemeral happiness." They capture what's meant for the moment and vanishes into the air right above the heads of the crowd. More than a quarter of a century later, we get the opportunity to listen once again to the encounter of two first-class improvisors who discovered a common language on the spot. It's amazing to listen to Konrad Bauer and Gianluigi Trovesi throwing ideas at each other. Simultaneously, they build up a multi-layered netting, providing a rhythmic base, tonal arrangements and melodic continuity in the process. A weekend in Peitz with a supreme line-up includling two duos: Konrad Bauer & Gianluigi Trovesi and Tony Oxley & Dietmar Diesner. Note that it wasn't planned that those two duos unite to become a quartet, it just happened.Impromptu Quartet. When those two duos unite to become a quartet, they exemplify what can be described as "collective improvisation." It's the encounter of two different approaches: Tony Oxley (a master in detaching jazz rhythm from beat) and Dietmar Diesner (then a newcomer) unite with more jazz-oriented improvisors Konrad Bauer and Gianluigi Trovesi. Their high-energy play, their urgency, the screaming, the hymnal elements, the final diminuendo - none of that was planned or agreed upon, let alone written down. They just let it flow… Bert Noglik

Nino Rota was an extremely pleasant and congenial person to work with. He wrote some of the most unforgettable and typical melodies for my films, even though he never managed to see the films beforehand. Nino succeeded in perpetuating a world of eternal childhood for himself, treating everyone with a mixture of trust and respect and smiling the enchanting smile of the sensitive child in a permanent gentle daydream. As if in contact with another world, he would acquire that faraway look of a medium. With just a few clues to go on he was able to produce the most amazing things: The whole score for “8 1/2” was written in just three days, at the most four. I used to tell him what was happening in the film, explain the kind of feelings I wanted to arouse, and he would respond in a way that seemed to draw something out of me that had been dormant for a long time. He gave you the feeling you’d written the music yourself. Federico Fellini

The Swiss band leader Claudio Puntin counts to one of the international most renowned and versatile clarinettists and composers. Puntin travelled all over the world with diverse ensembles and can be heard on over 60 CDs. He has worked with a variety of orchestras, big bands and ensembles, produced and composed various radio plays and film music. Furthermore he works as a clarinet tutor in Cologne and Berlin.



Duo Uno - Duo Due - Duo Tre - Duo Quattro (Bauer / Trovesi)Quartetto (Bauer / Trovesi / Diesner / Oxley)recorded at Jazzwerkstatt Peitz Nr. 42, September 19, 1981

Amarcord Padrino (from "The Godfather") Cantilena (No 3, from "7 Pezzi per Bambini")L’Acrobata (No 7, from "7 Pezzi per Bambini") Canto Della Buranella (from "Casanova") La Dolce Vita Fellini’s Waltz La Strada L’Intermezzo Della Mantide Religiosa (from "Casanova")all music composed by Nino Rota, elaborated by Trio Dolce Vita, recorded July 14-16, 2009 at StudioP4, Berlin

Conny Bauer - tromboneGianluigi Trovesi - alto saxophone, bass clarinet, piccolo clarinetDietmar Diesner - soprano saxophoneTony Oxley - drums

Claudio Puntin - clarinet, bass clarinet, glockenspiel, toys, hohner organa 30Jörg Brinkmann - violoncello, electronicsJohannes Fink - double bass


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CONNY BAUER / GIANLUIGI TROVESI / DIETMAR DIESNER / TONY OXLEYLIVE AT JAZZWERKSTATT PEITZ JAZZWERKSTATT

TRIO DOLCE VITA AMARCORD

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After the Playing Is Before the PlayingThis CD documents a somewhat surprising encounter – you could even say it came out of the blue – bringing together two different generations, genders, and parts of the world. These polar opposites are made to bear fruit through a combination of spontaneity, the sheer delight of playing music, and, most crucially, passion. What bridges them is an improvisational dialogue that uses the universal language of free jazz. She first met Dave Burrell in person at a jazzwerkstatt-festival in 2009, where she was performing her Dolphy-program "Potsa Lotsa" and he appeared as a soloist. She had long been a fan of his, being particularly impressed by his playing on diverse Archie Shepp albums. But it was a big surprise to discover that he had listened to her Coleman recordings, too. And so when she found one of the legends of her music standing there in front of her, they were on the same wavelength from the word go – and the next year things just fell into place. What you hear on this CD chronicles Silke Eberhard and Dave Burrell’s first performance together in the Berlin jazz club Schlot in November 2010, uncut and in the same running order. It was preceded only by a short sound check, but otherwise there were no discussions, no underlying compositions, no throwing out anchors in familiar set pieces. Instead the evening was a colorful dialogue with minor and major eruptions, improvisations perfectly balanced between two performers who seem to like the same things, all channeled into a huge river of intuitive understanding – levelheaded, closely entwined discourses as amusing spontaneous conversations between a duo who are on a perfect par with each other. The exceptional nature of occasions like this, when free jazz reveals its capacity as a universal language, is palpable. Ulrich Steinmetzger

jazzwerkstatt

Six years ago, Christopher Dell and John Tchicai met in Frankfurt for the first time because of a musical project, which was dedicated to the South African double bassist Johnny Dyani. Shortly before his death in 1986, the concert series "Jazz Against Apartheid – the music of Johnny Dyanis" came into existence; Tchicai has been part of it from the beginning. Prior to this, Tchicai has been working with Johnny Dyani and Chris McGregors "Brotherhood of Breath“. When the producer Ulli Blobel heard of the cooperation between Tchicai and Dell at "Jazz Against Apartheid", he initiated joint concerts in spring, 2010 in Berlin. Some of the pieces on this CD stem from the duo concert, held on 27 march 2010 in the former "Jazzwerkstatt" Café, the others come from recent recordings of the quartet with Christian Lillinger and Jonas Westergaard.The trio Dell, Westergaard, Lillinger has emerged from the cooperation with Tchicai, meanwhile, they made their own recordings. The idea of a collective is the basis of the present recording. The size varies from solo to quartet, the attitude of the collective remains clearly: taking up a stance. Christian Broecking



Lytta VesicatoriaMeloidaeLiloceris Lil IIRhynocoris IracundusHarmonia AxyridisStephanitis TakeyaiEnsiferarecordedNovember 6, 2010 live at Kunstfabrik Schlot, Berlin

Fortune at zou feetTravellerShareFondWetA double mescalDouble exposurerecorded live at Jazzwerkstatt Cafe, Berlin, March 27, 2010

Dave Burrell - pianoSilke Eberhard - alto saxophone

John Tchicai - saxophones, flutesChristopher Dell - vibraphoneJonas Westergaard - double bassChristian Lillinger - drums


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SILKE EBERHARD / DAVE BURRELL DARLINGTONIA

TCHICAI, DELL, WESTERGAARD, LILLINGER DELL WESTERGAARD LILLINGER feat. JOHN TCHICAI

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The best way of failing to emulate a role model is to imitate it. But on this album there are allusions and associations with Ornette’s music as well as spontaneous original compositions – but there are no imitations. Drawing on the resources of Ornette Coleman is tantamount to drawing on the resources of freedom: Here an "et cetera" is not a cliché, but a crucial part of the whole – and so on, and so forth, one thing leads to another. Music in the spirit of Coleman goes far beyond Ornette. His compositions are nothing more than springboards for his rhetorical question: "What do you play when you have already played the theme?"This exceptional quartet is not only inspired at the Hommage à Ornette – also, and above all, in Et cetera. As a union of sounds the four fly through space in the true tradition of OC, who once said: "It is possible to play in unison even if everyone is playing in a different key." The quartet follows his lead in the perfection of the imperfect, in giving meaning to the coincidental, in the intuitive knowledge with which the individual voices create something they all hold in common. It is a kind of mobile architecture.Even the location of this CD recording sheds light on recent jazz history. The recording sessions were inspired by a studio in the grounds of the former East German broadcasting corporation – a place intimately familiar to Ernst-Ludwig Petrowksy as an island, a sound capsule in the midst of decline. Bert Noglik

Lee Konitz is the great friend of the Germans. At first he was honoured, almost like a saint. That was after the War - and especially in Frankfurt, where he had the most lasting influence on the scene in the first important jazz city in Germany. Because he represented the latest in jazz development, the Cool Jazz of the Tristano-school at the highest stage of improvisation genius? Or because his unmistakable, mystical tone hit the nerve of the German search for depth in music? That’s all speculation. In any case friendships developed and a special one is documented on this CD.Since 1986 Frank Wunsch has partnered Konitz on many of his European tours. Wunsch studied piano with Alfons Kontarsky and composition under Rudolf Petzold and has accordingly knowledge of contemporary serious music. He has also immersed himself in the tradition of jazz - from the standards through to lyrical free jazz.Konitz - and this does not always penetrate the consciousness of the jazz world - is an enormously versatile musician. In 1949 he played the first entirely free piece in the history of jazz, the famous "Intuition". Also Bebop clearly left its mark on Konitz. He casually swings down the evergreens and in the atonal modern music any challenge is just fine with him. Now this CD emphasizes the advanced chamber music style he commands so intensely lyrically - but with Wunsch’s ideas developed to the full here as never before: fine glass pearl playing in dialogues with and without links to theme lines, with various tendencies - sometimes towards the abstractions of the new sounds and then again towards poetic charm as in "I love you". Ulrich Olshausen



The SphinxEt CeteraDer BumerangFlying FreeBlues for CarmellBeauty Is a Rare ThingDie Stille um den einen PunktEnfantrecorded October 19/20, 2010 at Studio P4, Nalepastraße, Berlin

Thingin’*Insight**Three Of Four**Lee Konitz soloFrankly Speaking***Fortune Part I & II***It’s You*Echoes D’Eric Satie****I Love You*****Starlight Variation**recorded at Sendesaal des Hessischen Rundfunks, Frankfurt/Main, September 29, 1995**recorded at Bürgerhaus Lage, Germany, November 11, 1993 ***recorded at Musikhochschule Dortmund, Germany, October 8, 1989****recorded at St. Marienkirche, Kerpen-Sindorf, Germany, February 7, 1993*****recorded at Bürgerhaus Lage, Germany, March 10, 1994

Uschi Brüning - voiceErnst-Ludwig Petrowsky - alto saxophone, clarinet, fluteJeanfrançois Prins - guitarMichael Griener - drums

Lee Konitz - alto- & soprano saxophoneFrank Wunsch - piano


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PETROWSKY / BRÜNING / GRIENER / PRINS ORNETTE COLEMAN ET CETERA

LEE KONITZ / FRANK WUNSCH INSIGHT

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Bunch of Keys8758 / Das DingLonely WomanVia Chantenay VilledieuImpressions in ExpressionsFolk TaleUnion of Sounds

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This album from the remarkable trio formed by Henrik Walsdorff was recorded in a single session exactly as the music was played, preserving both the order and the length. There was no previously agreed plan, no ambiguity, no subsequent tampering. What we hear is an original sound document of a journey to an ever more autonomous style of playing far removed from any form of imitation When Walsdorff’s saxophone takes flight, it does so in a circumspect manner that keeps whatever it finds during the discourse under control, yet not allowing itself to retreat into safe territory either. It remains aware of its origins and history without slavishly pursuing the heroes of a bygone age. Walsdorff circles around and homes in on his target with great physical poise. Yet his goal is not to achieve ever greater virtuosity ("higher, faster, further") but rather to maintain the standard he has worked to achieve over the years. The unhesitating forward drive of Lillinger’s drums is exactly right for this; rather than confirming constants it hammers home the changes of direction that originate in the course of events. He is complemented by Westergaard on bass who uses neither a bow nor prepared sounds. Instead, he plucks a melody from the background of a story with warm, sonorous, full pizzicato tones, providing a vast reservoir of ideas. Ulrich Steinmetzger

A lot has been written about the music and legacy of Ornette Coleman, his "harmelodic" approach and overall influence. If only for his first recordings in the late 50’s and early 60’s, especially "Free Jazz" with the double quartets, he would’ve made musical history.Above all as in any great music, it is the spirit that shines brightest. In Ornette’s music there is a joyful spirit which permeates throughout and explains why people love his art as they do. His music expresses an irrepressible joie de vivre, uplifting and mournful at the same time, playful and deadly serious-a full view of the human condition. With deep respect to a true individualist and master of his art, I hope you enjoy our Ornette Coleman voyage. Dave Liebman, September 2009



Stück 1 Stück 2 Stück 3 Stück 4recorded November 11, 2008

EnfantTurnaround Kathelin Gray Bird FoodLonely Woman Cross BreedingFace of the Bass / Beauty Is a Rare Thing Una Muy BonitaThe BlessingThe Skyall compositions by Ornette Coleman except "The Sky" by David Liebmanrecorded January 5 & 6, 2009 & mixed at Schoolhouse Productions, Reading PA

Henrik Walsdorff - alto saxophoneJonas Westergaard - double bassChristian Lillinger - drums

Dave Liebman - tenor- & soprano saxophone, wooden fluteVic Juris - acoustic- & electric guitarTony Marino - acoustic bassMarko Marcinko - drums, percussion


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HENRIK WALSDORFF TRIOUNTITLED

DAVE LIEBMAN GROUP TURNAROUND - THE MUSIC OF ORNETTE COLEMAN

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"Peitzer Grand mit Vieren." What the four players show here can be described as virtuosity and maturity, a far cry from the deliberate destruction of traditional values, from the "let’s play it to death" phase. In its newly won freedom, the music here unfolds with an awareness of form and structure, and the spirit of improvisation gives rise to a coherent arc corresponding to a phenomenon that has been described as "instant composing."And one of its elements is something that only those of us who were at the concert are able to remember: The atmosphere in the cinema in Peitz, in the middle of nowhere in East Germany on the afternoon of September 20, 1981.The house was packed with fans who traveled wherever they could to connect with this music – to escape from the dull banality of everyday life and be as close as possible to the creative processes. What comes through on the recording even to listeners who did not hear it live is the sense that the music is addressed to an audience, to a listener or listeners. Bert Noglik

I remember being at this concert, for one thing it was a new place though it left with such swiftness that I’ m not certain many remember it. And so the concert itself was wrapped in a fond freshness, as trendy as the word had become back then. But it was the music that all had trekked there for, that expectancy in these yet earliest days of David’s New York incarnation, that he was expresser of something still being born.This record as the replicated context of a time and the expression of that time and that place, NYC 1977 is the intellectual précis of what has gone past to bring us into that present and , as well, notice of important music to come. And so we have the great music David Murray continues to make today, although this record makes us remember, as well, three great musicians we wish were still here. Amiri Baraka



Ein Setrecorded live at Jazzwerktatt Peitz, September 20, 1981

Nevada’s ThemeBechet’s BounceObeLet TheMusic Take You For Walter Norrisrecorded live at The Lower Manhattan Ocean Club, New York, December 31, 1977 first issue: India Navigation 1032

Günter "Baby" Sommer - drumsManfred Schoof - trumpetGianluigi Trovesi - alto saxophone, clarinet, bass clarinetBarre Phillips - double bass

David Murray - tenor saxophoneLester Bowie - trumpetFred Hopkins - double bassPhillip Wilson - drums


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GÜNTER BABY SOMMER/BARRE PHILLIPS/GIANLUIGI TROVESI/MANFRED SCHOOF PEITZER GRAND MIT VIEREN

DAVID MURRAYLIVE AT THE LOWER MANHATTAN OCEAN CLUB

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The voice coming from The Ullmann/Swell Quartet is saying listen, feel, and become. Don’t Look Back This is "MUSIC OF TODAY". The Quartet is playing "True Sound" which allows us to meet our destiny head on; music changes the listener, thus the world changes. The goal in these sonic excursions is to explore music in all of its moods, colors and shapes. There is also a strong investment in silence, space and texture. The compositions are delivered in ten installments, four pieces written by Gebhard Ullmann, two collective composed pieces and four songs composed by Steve Swell. Incorporating preset motifs in both a fixed and spontaneous way.The old myth question sometimes still arises in some circles (Why is the music so angry? Where is the melody?) Well we don’t hang out in such circles nor do we address such archaic ignorance. One cannot play music if one is angry this music can only arise out of love. Are thunder and hurricanes angry? No they are part of nature, where there is calm there must also be fire.Compassion is full of fire not that stupid fire of hate but the good fire that is fueled by peace and love. Thank you Steve Swell, Gebhard Ullmann, Hilliard Greene and Barry Altschul. William Parker, 9. April 2009

John Coltrane is a perfect example for a musician whom it wasn’t enough just to be a musician. Needless to say he was a huge composer who wrote some of the most sophisticated and most interesting musical works that exist on this planet today. At the moment it is very important for me to deal with the musical thinking of famous musicians and John Coltrane is no exception. I am happy and proud to be a part of the tradition of famous musicians from Philadelphia - musicians that lived, worked, performed and died here in this as the word is city of the “brotherly love”.COLTRANE CONFIGURATIONS is a project from what I pleadingly hope that it stands in the tradition and in the spirit of John Coltrane’s music. It is always an honour to pay a musical giant und spiritual person the compliment. That is John Coltrane – a form of supernatural love. Jamaaladeen Tacuma



More HelloNew York 5:50Composite #1Kleine Figuren #2Planet Hopping On A Thursday AfternoonGPS #1 News? No News! GPS #2Berlin 9:35 Airtightrecorded at Systems Two, Brooklyn, New York June 11, 2008

IndiaDahomey DanceImpressionsNaimaA Love Supremeall compositions by John Coltrane, arranged by Jamaaladeen Tacumarecorded live at the Domicil, Dortmund, Germany, October 25, 2008 by WDR

Gebhard Ullmann - tenor saxophone & bass clarinetSteve Swell - tromboneHilliard Greene - bassBarry Altschul - drums

Jamaaladeen Tacuma - bass guitarTony Kofi - alto & soprano saxophoneOrrin Evans - keyboards & pianoTim Hutson - drums & boom boom


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ULLMANN / SWELL 4 NEWS? NO NEWS!

JAMAALADEEN TACUMA COLTRANE CONFIGURATIONS

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The Adam Pieronczyk quartet defines itself by intuitive interaction, an often dancing gesture and a confession for concise melodies that will be carried on improvisatory. Here and then there is a broadening in abstract sounds (not only, but also because of the highly individual kind of playing on the didgeridoo of Adrian Mears) where jazz intensity merges with ethnic sprinkles. At times sonorous sound images arise that remind of the late groups of Albert Mangelsdorff in the seventies. Also for Pieronczyk and Anthony Cox in a similar line up, it’s about the confession to the drive of jazz music and the search of new freedoms. Thereby this music doesn’t adhere to retro gestures, but some of that which jazz musically happened after John Coltrane, is integrated in a unique group sound. Bert Noglik

Uwe and I met years ago with the concept of playing a live concert in Germany and recording a demo in Philadelphia. That demo contained the essence and the organic structure that propelled this new recording on jazzwerkstatt. There were so many elements and original improvisation on that demo that convinced me that Uwe and I must create music for a studio album. So what was destined to happen, happened. I am happy that we did and I am happy to present this recording with hopes that you the listening audience will enjoy this sincere musical offering. To me "Zwei" is the creative force of two musicians from two parts of the world, two musical cultures and two human sensibilities that melt into one. It is in fact “Just the two of Us”. This recording was indeed a pleasure to be a part of and the creative juices flowed in the recording studio like clear water from a mountain fall. Jamaaladeen Tacuma



Ivolginskij Dacan The Bushido Code Tranquil PrestidigitatorCopernicus Andalusian Garden Bel CantoIf I Ever SawThe Seashore, I Believe I’d Die Of Joy... Muniak & Pieronczyk Best Bakers In TownThe Storks Of Marrakechrecorded January 18, 2008 at Radio Gdansk / Poland

RelaxLydian SummerFrom F to F and BackChromaticDrivingDorian SpringPlastic BagAl Hamdulillahrecorded August 3 & 4, 2009 at Studio Sixty Four, Berlin

Adam Pieronczyk - soprano- & tenor saxophoneAdrian Mears - trombone, didgeridooKrzysztof Dziedzic - drums, percussionsAnthony Cox - double bass

Jamaaladeen Tacuma - bass guitarUwe Kropinski - acoustic guitar


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ADAM PIERONCZYK QUARTET feat. ANTHONY COXEL BUSCADOR

JAMAALADEEN TACUMA / UWE KROPINSKI ZWEI

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Na undSome Way HomeTanaShake MeShowstopperQuiet TimeBerliner Luft

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Berlin-based label Jazzwerkstatt has, in the two short years of its existence, already become one of the most exciting projects on the world Jazz scene. It began in 2006 as a way to release an archive of older live recordings by European and American Jazz masters, including many who need only one name to identify them, Brotzmann, Trovesi, Lacy, among many others. Quickly however the label’s vision expanded to include recordings of new concerts they were producing in Berlin, including a fall festival Jazzwerkstatt presents under the name European Jazz Jamboree. And now the label has also begun to document the leading lights of the local Berlin scene with new studio recordings. These four recordings belong to that latest Jazzwerkstatt initiative. Ulrich Gumpert really belongs to that older generation of European Jazz masters, and his name will be familiar to many readers. But (1) is a new studio recording of three suites he wrote in the ‘70s and ‘80s, performed now by an impressive 8tet of young Berlin players. While all three suites are very fine, it is the opening "Aus Teutschen Landen" which is exceptional. This was Gumpert’s breakthrough piece in 1972 and it is a wonderful example of the best in European Jazz, grounding Free Jazz virtuosity in local folk musics, in this case a series of German folk songs. Like the best work of Willem Breuker and Pino Minafra, “Aus Teutschen Landen” begins in the community wind band tradition, but then takes the loose tonality of that tradition into a Free Jazz stratosphere. There is plenty of room here for these young players to stretch out and strut their stuff, but the fun of the piece never disappears. While the other two suites are fine-"Sinfonietta" is an experiment in 12-tone chromaticism and "H-M-Suite" is dance music for the theater-"Aus Teutschen Landen" is 30 minutes of music worth searching out and placing in your collection next to the Vienna Art Orchestra and Italian Instabile. Exceptional! Trombonist Christof Thewes plays a big part in the success of (1), and virtuoso bassist Jan Roder keeps the Gumpert Workshop Band swinging and stomping. Drummer Michael Greiner is colorful and never showy, adding both swing and adventure to Gumpert’s music.

jazzwerkstatt

This album features three musicians who get completely involved with each other. Though Brötzmann, Vandermark and Gustafsson had played together on countless occasions in Brötzmann's Chicago Tentet, some fundamental differences remain: coming from different cultural backgrounds (Germany, Midwest America and Sweden) and from different generations, the three musicians contribute their individual experiences and backgrounds to the group. Though Peter Brötzmann was often ridiculed and discredited by the snobbish jazz scene, his endurance paid off in the end, maybe because - unlike most other jazz musicians - he's always in touch with the real world. One day Ken Vandermark, who once roared his sax for punk jazz bands, realized that he had obviously much more in common with Brötzmann than he'd always thought. Last but not least, free rock guerrilla fighter Mats Gustafsson brought a fresh, uncompromising hardcore punk attitude back into jazz. It fits the trio well when they drift off in three differentdirections and subsequently meet again. While each of them forces the other two to pay him attention, they have something in common: their sound. This band leaves nothing to chance, even when it appears to be completely accidental. When it comes to creative power, inner logic and a consistent architecture, this performance is unparalleled in the history of improvised music. Destroy what destroys you - and rebuild it more beautifully than it ever was. Mission accomplished.



AUS TEUTSCHEN LANDEN (Suite nach Motiven deutscher Volkslieder):

Es fiel ein Reif in der Frühlingsnacht -- Tanz mir nicht mit meiner Jungfer Käthen -- Der Maie, der Maie -- Es saß ein schneeweiß’ Vögelein -- Kommt, ihr G’spielen SINFONIETTA: Part I -- Part II -- Part III H-M-SUITE : Part I -- Part II -- Tangorecorded at NUPHOBIA Studio for Audio Media, Berlin, August 5 & 6, 2008 August 2008, Berlin-Kreuzberg.

Straight into the Light Open ShoreFirst Feedback Two Birds in a FeatherDriftwoodOnly the Devil has no Dreamsrecorded live at jazzwerkstatt Nr. 1 / Kammermusiksaal der Philharmonie, Berlin, September 27, 2006

Ulrich Gumpert - pianoMartin Klingeberg - trumpetChristof Thewes - tromboneMichael Thieke - alto saxophone, clarinet Henrik Walsdorff - alto saxophone Ben Abarbanel-Wolff - tenor saxophone, fluteJan Roder - double bass Michael Griener - drums, percussion

Peter Brötzmann - alto- & tenorsaxophone, tarogato, b-flat-clarinetMats Gustafsson - baritone saxophone, flutephone, slide-saxophoneKen Vandermark - baritone saxophone, b-flat-clarinet


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ULRICH GUMPERT WORKSHOP BANDSUITES

SONOREONLY THE DEVIL HAS NO DREAMS

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The first time I heard a Rova album – 1980’s "This, This, This, This" (Moers Music) – I was, I remember well, intimidated, as much by the timbral homogeneity of the saxophone quartet as by the uncompromising complexity of the music.Without markedly different instruments in the line-up playing off each other – it’s always hard to resist the temptation to personify instruments and turn pieces of music into works of theatre – we’re left with no option but to focus on the music itself, the notes, and Messrs Ackley, Adams, Ochs and Raskin are nothing if not “note men”, to quote one of their heroes, Morton Feldman. Even after 34 years’ playing together (23 for Adams, who joined in 1988 after founder member Andrew Voigt left) they show relatively little interest in the flutters, clicks and pops of the “new” saxophone vocabulary of the past 15 years. The three pieces on offer here make abundantly clear that there’s enough remaining to be done with the old twelve tones to keep them busy for another three decades.Both, the background and the solos reflect the dazzling virtuosity and consummate musicianship of these guys. And no amount of verbal explanation in a set of liner notes can prepare you for the thrill and challenge of "A Short History", which, despite its title, demands, deserves and richly rewards long and loving attentive listening. Dan Warburton


The BlocksTo The Right Of The Blue WallCertain Space(Introduction)Part 1 (for Giacinto Scelsi)Part 2 (for Cecil Taylor)Part 3 (for Morton Feldman)recorded August 2011at Broken Radio, San Francisco, CA by Eli Crews & February 2003 at CNMAT, Berkeley, CA.

Bruce Ackley - soprano & tenor saxophoneSteve Adams - alto & sopranino saxophoneLarry Ochs - tenor & sopranino saxophoneJon Raskin - baritone & alto saxophone


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ROVA SAXOPHONE QUARTET A SHORT HISTORY

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01. - KOMEDA - THE INNOCENT SORCERER2. - LIVE IN BERLIN 3. - FOR THE LOVE OF ORNETTE4. - NO COMMENT5. - YES WE CAN6. - FULL BLAST 7. - LIVE IN BERLIN8. - FIVE FACINGS 9. - LIVE AT JAZZWERKSTATT PEITZ

10. - AMARCORD11. - DARLINGTONIA12. - DELL WESTERGAARD LILLINGER feat. JOHN TCHICAI13. - ORNETTE COLEMAN ET CETERA14. - INSIGHT15. - UNTITLED 16. - TURNAROUND - THE MUSIC OF ORNETTE COLEMAN 17. - PEITZER GRAND MIT VIEREN18. - LIVE AT THE LOWER MANHATTAN OCEAN CLUB 19. - NEWS? NO NEWS!20. - COLTRANE CONFIGURATIONS21. - EL BUSCADOR 22. - ZWEI23. - SUITES 24. - ONLY THE DEVIL HAS NO DREAMS25. - A SHORT HISTORY

JW 104 - ADAM PIERONCZYK QUINTET JW 035 - DAVID MURRAY QUARTET JW 090 - JAMAALADEEN TACUMA / ORNETTE COLEMANJW 113 - AUGUSTO PIRODDA / GARY PEACOCK / PAUL MOTIAN JW 098 - WORLD SAXOPHONE QUARTET JW 001 - BRÖTZMANN / PLIAKAS / WERTMÜLLER JW 022 - STEVE LACY / MAL WALDRONJW 025 - STEVE LACY & FIVE PIANISTS JW 032 - BAUER / TROVESI / DIESNER / OXLEYJW 082 - TRIO DOLCE VITAJW 112 - SILKE EBERHARD / DAVE BURRELLJW 128 - TCHICAI / DELL / WESTERGAARD / LILLINGER JW 115 - PETROWSKY / BRÜNING / GRIENER / PRINSJW 116 - LEE KONITZ / FRANK WUNSCH JW 081 - HENRIK WALSDORFF TRIOJW 079 - DAVE LIEBMAN GROUPJW 077 - SOMMER / PHILLIPS / TROVESI / SCHOOFJW 073 - DAVID MURRAYJW 068 - ULLMANN / SWELL 4 JW 066 - JAMAALADEEN TACUMAJW 064 - ADAM PIERONCZYK QUARTET feat. ANTHONY COXJW 061 - JAMAALADEEN TACUMA / UWE KROPINSKI JW 054 - ULRICH GUMPERT WORKSHOP BANDJW 013 - SONORE JW 099 - ROVA SAXOPHONE QUARTET

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TOP 25 JAZZ - 2013

Förderverein werkstatt Berlin-Brandenburg e.V. • Altvaterstr. 3 • 14129 Berlin Germany e-mail: [email protected] • www.records-cd.com • www.jazzwerkstatt.eu

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