BINDER QUINTET WITH JOHN TCHICAI (KRÉM, 1982)

heres a serenely beautiful , bittersweet music that’s very much a central European folk inflected fusion with free jazz.

I know nothing of the Hungarian ‘binder quintet’ beyond this one lp ive owned for 20 years.
A unique gem ,that’s worn very well and is unlikely to ever be reissued on cd.

There is no date at all on the lp, late seventies early eighties seems very likely.
This was put out on KREM the recording label of the state controlled Hungarian national radio broadcaster.

Enjoy


>The text above is by sotise which posted this gem almost at the beginning of this blog ( 9th November, 2007!). And here I discovered the music for the first time in 2009 or so...
Just recently I listened to it and was again delighted.
So here's a re-up for all who haden't the chance the first time around.<

Personnel is

BINDER QUINTET
Mihaly Dresch,  tenor saxophone , harmonica
Károly Friedrich, trombone, harmonica
Károly Binder, piano
Róbert Benkö, contrabass
István Baló,  drums
with
John Tchicai,  alto saxophone

1. Vasvirág (Iron Flower) 20:59  
2. Sirató (Dirge) 6:48  
3. Közép-európai Zajongások (Central-European Hubbub) 15:48

Composed by Mihály Dresch


Recorded at Hungarian radio studio, Budapest, July 29, 1982.


Binder Music Manufactory  BMM 9606 (CD)
Originally released on LP in 1983 - Krém SLPX 17759

ERICH KLEINSCHUSTER SEXTET + LESZEK ZADLO "VIENNA, 1972"

Erich Kleinschuster, trombone, announcements
Leszek Zadlo, bass clarinet, soprano & tenor saxophone, flute
Fritz Pauer, electric piano
Jimmy Woode, bass
Erich Bachträgl, drums
Fritz Ozmec, percussion

1. Intro 1:22
2. Whole Tone Dance 10:11
3. Directions 4:38
4. Intensity 7:27
5. Einsiedlerplatz (Hermit's Square) 10:46
6. Saturn 11:51
7. Ephedes BH 8:10
8. unknown title (incomplete) 3:29

Written by Erich Kleinschuster except "Directions" which was written by Joe Zawinul.

Recorded at Amerikahaus, Vienna,  Austria on September 18, 1972.

IANNIS XENAKIS "KRAANERG" (ERATO, 1968-69)

This is the recording of  "Kraanerg's" premiere.
Although the composition is a continous piece of music I've post it each LP side separately.
So you have four files...

...for more information go to Wikipedia



Kraanerg Musique Pour Orchestre Et Bande Magnétique
[Musique de ballet pour orchestre et bande magnétique 4 pistes :
1(pic).1.2(clpic, clCB).1(cbn)-2.2.2.0, crd (3.3.2.2.2 ou multiple)]

Marius Constant, conductor
Ensemble Ars Nova De L'O.R.T.F.

Recorded June 2, 1969 Ottawa, Inauguration du National Arts Centre, National Ballet Guild of Canada
- the rehearsal began in April 1969.

Erato  STU 70527/28 (vinyl rip)

Originally available with the LP box "XENAKIS" (Erato STU 70526/27/28/29/30), 1969.

Kraanerg is a composition for 23 instruments and 4-channel analog tape composed by Iannis Xenakis, originally for a ballet with choreography by Roland Petit and set design by Victor Vasarely. It was created for the grand opening of the Canadian National Arts Centre in Ottawa, which was originally to coincide with Expo 67 but was delayed to 1969.


As the LP was part of a box set there's no cover - I've simply added the red letters to the box' front pic for a start...
...only after uploading I've discovered one nasty audible crack on side D.....

William Parker - Hamid Drake - John Dikeman ~ Sant'Anna Arresi ~ 5th September 2015

Almost an hour of this trio's set at Sant'Anna Arrest in September 2015 - at once energetic and lyrical, with Dikeman's sax superbly offset by Parker and Drake.

William Parker - bass
Hamid Drake - drums & percussion
John Dikeman - saxophone

Sant'Anna Arresi; 5th September 2015 (from RAI3 live recording)




By the way, RAI3 broadcast the Evan Parker Quartet's 4th September set from the same festival a couple of weeks ago. I wasn't able to record this broadcast - if someone has a recording, could it be shared here?

KEITH TIPPETT - solo. London 1992

KEITH TIPPETT -  piano

1. August Air  41:02

Queen Elizabeth Hall, London   May 1992

BBC Radio 3.  Impressions. b'cast 17 Oct 1992

Don't miss Keith Tippett's excellent recent solo release Mujician Solo IV - live in Piacenza.

Also a new cd by the Keith Tippett Octet - The Nine Dances of Patrick O'Gonogon

DUNMALL. ROGERS. HESSION, Termite Club, Leeds 1988

PAUL DUNMALL - ss, ts, bs
PAUL ROGERS - b
PAUL HESSION - d

1. 40:02
2. 38:57

Termite Club, Leeds   30th June 1988

Thanks to taper.

HENRY THREADGILL'S ZOOID "POP START THE TAPE, STOP" (HARDEDGE, 2003)

Henry Threadgill, flute, bass flute, hubkaphone
Liberty Ellman, acoustic guitar
Tarik Benbrahim, oud
Dana Leongi, cello
Jose Davila, tuba
Elliot Humberto Kavee, drums


A. Pop Start The Tape, Stop     24:35
B. Pop Start The Tape, Stop (Cont'd)     18:09


Recorded at Engine 27, New York City, September 12, 2003
Limited edition of 1000 (numbered) copies


HARDEDGE HE-001  (vinyl rip)

SOPHiA DOMANCiCH TRiO :: Rêve de singe (1993)

SOPHiA DOMANCiCH TRiO :: Rêve de singe (Gimini 1993)

1. Reve De Singe [SD] (7:49)
2. P.D.M. [SD] (13:12)
3. Dji-Dji Up [SD] (6:16)
4. Jocelyn [SD] (10:42)
5. Cold Shoulders [SD] (9:04)
6. Blott On The Landscape [SD] (9:44)
7. Mon Reve Familier [PR] (10:15)
8. Lunch, The Rabbit [SD] (8:59)

SOPHiA DOMANCiCH - piano

PAUL ROGERS - 5 string bass

TONY LEViN - drums

Rec: Feb 1993 - Loc: Studio de Chennevieres (France) - Eng/Pr: Gérard Lhomme 

For Andy, kinabalu, onxidlib, sotise, Nick and all good people, especially those who passed from our lives.

brothermiloo2.

::

LILLI FRIEDEMANN "EINSTIEGE IN NEUE KLANGBEREICHE DURCH GRUPPENIMPROVISATION" (UNIVERSAL EDITION, 1973)

Here we have a rather obscure example of improvised music. I've stumbled on this release while doing my regular unsystematic but occaisonally fruitful researches.

Lilli Friedemann (* 17. Juni 1906 in Kiel; † 20. Dezember 1991 in Mölln) was a German violin and viola player and an improviser.
A pupil of a.o. Paul Hindemith she developed from the mid 1950s onward the socalled „Musikalische Gruppenimprovisation“ (musical group improvisation).
1964 she founded the „Ring für Gruppenimprovisation“ (ring for group improvisation). This was followed by the a series of writings called „Ringgespräch für Gruppenimprovisation“ (ring-talks for group improvisation).
Her first experiments towards an improvised music were through accompanying theatre performances.
In 1986 she founded the group "Ex Tempore". With this ensemble she brougt her way of group-improvising to the public.
She was also a pioneer in historically informed performances of baroque-music in Germany.

1968 she became university lecturer in Hamburg.
Today her knowledge in playing and her writings are applied mainly in music-therapy.
Her script "Ordnung ohne Herrschaft" (order without lesdership/dominance), on which she worked until her death, remains unfinished.
Her first example of improvised music was released in 1969: " kollektivimprovisation als studium und gestaltung neuer musik".

Somehow, while reading the book, I had the impression, that the music on this vinyl was produced without much knowledge of what was going on in improvised music all around the world since the end of the 1950s.
But wether this is an approbriate observation is a moot point.

The title in Englisch: A1- meter and opposition; A2 - two sound-pictures as a riddle; B1 - fog-horns; B2 - mot-play
"einstiege in neue klangbereiche durch gruppenimprovisation" means "entering into new areas of sound through group improvising"





Performer:
Arend Schmidt, Beate Quaas, Brigitte Emmel, Frank Grootaers,
Lilli Friedemann, Reiner Juhl, Ulrike Gruß, Wilhelm Schulz



A1. Metrum Und Opposition  4:26
A2. Zwei Klangbilder Als Rätsel  2:11
B1. Nebelhörner 3:34
B2. Mot-Spiel 2:40

- Metrum und Opposition (seven players)
- Zwei Klangbilder als Rätsel (for seven to eight players)
- Nebelhörner (eight players)
- Mot-Spiel (a. two players with identical instruments improvise over a "Mot";
a third one offers contrast. b. two players with different instruments improvise over a "Mot";
a third one uses a simple "Contra-Mot". )

No instruments given on the vinyl. But in the book in which the 7" is housed the following instruments are listed for track B1:
organ-pipe ("trombone"-organ pipe), voice, contrabass, cello, viola, tenor-recorder.

Universal Edition – 20 P 050, Universal Edition – UE 20050  (7" - 1973)

Svein Finnerud Trio - from the NRK archives

Following up the earlier posting of Min Bul, here is a 25 - minute clip from Norwegian TV archives. It was shown om 27 February 1970 and is divided into two parts. First is an introduction by composer Kåre Kolberg and Svein Finnerud himself and then there is a twenty-minute clip from a performance at Centralteateret in Oslo on 14 November 1969.

Bjørnar Andresen (bass) and Espen Rud (drums) made up two-thirds of Min Bul and the Svein Finnerud Trio continued in this form until the mid-70s. The trio was resurrected in the early 90s, but with new drummers replacing Espen Rud. Svein Finnerud died in 2000 and Bjørnar Andresen in 2004. Finnerud and Andresen had known each other since childhood days and they cooperated right until the end. While Jan Garbarek and Terje Rypdal launched international careers through their association with the ECM label, the Finnerud Trio reamined fairly unknown despite being very much part of the scene in the late 60s.

I have transcribed the introductions, which are in Norwegian, for the benefit of non-Scandinavian speakers. This is what's said, translated into passable English, I hope.

Kåre Kolberg:

Ten to fifteen years ago one started thinking again that music is also visual and not only audible. Out of that came a new hybrid form which in want of a better term was called instrumental theatre - music that not only wanted musicians to be visible, but to draw their actions into the composition itself. There could be many reasons why this hybrid form emerged at the time, but one reason could be tape music where well-dressed, experienced stage musicians were replaced by loudspeakers, not a very exciting sight. TV forced one to rethink how the doings of musicians could be transmitted to the eyes. One might have thought that this hybrid form would reach many, also those not very interested in music. As instrumental theatre came out of an exclusive, even excluding, modernist way of theought, it did not win many friends. Pretentiousness and the absence of humour did not make things better. If it could not be perceived as play, then many thought it came from a confused mind. Last autumn at the Munch museum a group with a different point of departure made their contribution - Svein Finnerud Trio. Coming from jazz, they have a quite different, friendly attitude towards the audience. What they did had humour which felt good and made one think of their performance as a sort of play, a play from people used to play with sounds. Splashing water can sound good, not to speak of fighting on a steel plate. Then one might ask what made these musicians enter the borderland between art for the eyes and art for the ears.

Svein Finnerud:

It was no longer enough for us to express ourselves through this and that instrument. For us it became natural to start to use other means of expression and we include the smallest things, anything that has musical value and then we individually think about what we associate with that sound. We think about how to create the best setting for that sound. I am inclined towards the word sound, because music is nothing but organised sound. The point of musical theatre is to emphasize and amplify these sounds and often we choose a movement that does not match the sound at all and thereby create a tension between movement and music. It can be a grotesque moment or something funny, clown-like. With instrumental theatre one is more aware of things that one usually does not notice. I think that we walk around sleeping with open eyes and ears. We have discovered a new sound, a new realm of experience in familiar things and sounds. Our present time alienates man from himself and by perceiving these familiar sounds and things, we are brought closer to ourselves.

After the introductions we will see a passage of musical theatre and after that they seque into Plastic Sun, the title tune of their second album.

This was taken from a series of programmes titled "Musikk utenfor alfarvei" (literally Music outside the main road) and we will have more programmes posted here in the time to come.

Terje Rypdal Trio live at Sendesaal, Bremen 1973

Since there seems to be a bit of interest in Rypdal at the moment, here is a set I dragged out of the archives. This was posted in our conributions section as high-grade mp3s, but since I had the flac files lying about, I thought I might as well put them here.

Terje Rypdal Trio
April 4, 1973
Sendesaal, Bremen

Terje Rypdal (g, fl)
Barre Phillips (b)
Jon Christensen (d)

Disc 1
Journal (B. Phillips)    7:04
Horizon (T. Rypdal)    11:12
Black Boy (T. Rypdal)    9:36
Back of J. (B. Phillips)    4:05
Bend It (T. Rypdal) (inc)    14:52

Disc 2
Electric Fantasy (T. Rypdal)    11:00
Event IV (G. Russell)    5:33
Rainbow (T. Rypdal)    8:18
Icing (T. Rypdal-J. Christensen)    15:02
Tough Enough (T. Rypdal) (inc)    6:45

More than 90 minutes in all.

Jon Christensen was with the Jan Garbararek Group at the time and so was Rypdal initially, though I think he might have left by the time of this recording. Barre Phillips was in John Surman's Trio, but the trio might have disbanded by 1973.

Basically improvisational, good sound and to my knowledge, never officially released. 

TERJE RYPDAL - BJØRNAR ANDRESEN - ESPEN RUD "MIN BUL" (POLYDOR, 1970)

Terje Rypdal, guitar, soprano saxophone
Bjørnar Andresen, bass
Espen Rud, drums

1. I Cried A Million Tears Last Night     4:17
2. Invocation     4:09
3. Champagne Of Course     11:06
4. Ved Sørevatn     6:03
5. Nøtteliten     7:32
6. Strange Beauty     5:47


Recorded at Rosenborg Studios, Oslo, Norway, September, 1970.


Originally released on Polydor 2382 003 (Norway, 1970)

(This rip from Take5 TAKE5 35015, 2010 - bootleg)