|
Date |
the GUNTER HAMPEL EUROPEAN QUARTET and the
GUNTER HAMPEL MUSIC+DANCE IMPROVISATION COMPANY
GUNTER HAMPEL FIREBIRD ORCHESTRA GUNTER HAMPEL SMALL GROUPS : SOLO-DUO-TRIO-QUARTET-QUINTET-SEXTET-SEPTET-OCTET-NONET
SEMINARs-LECTUREs-PANEL DISCUSSIONs -
WORKSHOPS: THE MUSIC+DANCE IMPROVISATION COMPANY
FOR CHILDREN 5-13, youth 12-18 -grown ups 18+
big band workshops with GH famous big band charts (3 days)
or book our complete cultur-programm CONTACT-CONCERTS for your town :
7 days in one city : workshops +concerts everywhere where possible in
schools-city halls-shopping centers-churches-youth or old folks homes-markets
soccer stadiums-flee markets etc. call, we will figure out a programm for your needs
workshops and contactconcerts since 1972 -AWARD WINNING CULTURAL
CONTRIBUTIONS TO BODY-MIND AND SPIRIT EDUCATIONAL
for exact tour listing look under TOURPLAN
n e w s
WILLEM BREUKER dies at 66 in Amsterdam
gunter hampel : willem breuker: I remember playing 1966 at the Roermond Jazz Festival in the Netherlands. my band had nedley elstak tp, me on bcl,flute and vibrafon , victor kaihatu bass, Loek Dicker piano, and Pierre Courbois dm , 1964 i had my first German band being rated to be the first avantgarde group in Europe to have the potential to initiate a european identity of jazzmusic, with myself on vibes,fl,bcl, manfred schoof tp, alexander v.schlippenbach p,buschie niebergall bass and pierre courbois on drums ( SABA-MPS HEARTPLANTS LP + CD) the ROERMOND FESTIVAL performance was a triumph. while i was packing up a wild looking,heavily bearded , young Willem Breuker made himself known to me and while we started a challenging conversation, he offered me to stay in his fathers house , because i had mentioned, i wanted to stay a few days in amsterdam, to check the dutch jazzscene, which was , like the german jazzscene heavily influenced by my new european jazz music , it was the sixties, we wanted to have our own identity as composers and musicians .so far, european jazz musicians had been copying the latest usa jazzrecords and that was it. no one thought of having the power to get away from this, because that was, what the audiences wanted to hear. they actually came to the concerts to hear the music they knew, from louis armstrong to miles davis. ( that sounds like we have it now again , doesn't it ?) so, the first thing, what willem and me did, arriving at his home, was to unpack our horns and blow some. well that went so good that i hired him right away into my GUNTER HAMPEL GROUP . after a few gigs, nedley elstak and victor kaihatu quit, because the music had gotten too wild for them. but i rather stuck to the evolotionary kick i got , when playing with willem. since i was living in düsseldorf at the time, i was only 1 1/2 hours car ride away from amsterdam and became pretty much, a dutch speaking inhabitant of the amstedam city, i even had a flat there and i started with willem to get involved , same as in germany to organize events, where our new music was the focus. we organized a 3 day and night jazzmarathon to show what power of music we were unleashing and had success in getting money from the government, a prince bernhard stichting for the entire dutch jazzcommune. and i had moved to antwerp, belgium, because i also had become very active in the french and the belgium jazz scene, getting our NEW THING organized all over europe, i was in italy and left some seeds there. while i was till 1969 very active in performing allover europe , spain,portugal,east germany, poland, CSSR, etc. i had next to my GUNTER HAMPEL GROUP , with Willem, i also hat created a group with GUNTER HAMPEL_MARION BROWN QUARTET with Barre Phillips bass and Steve McCall drums + a very hip ensemble, the group TIME IS NOW with John McLaughlin , no one knew of him, then,i ran into him in London. so that scenario was sometimes, i played in the morning with Marion Brown in Paris, had an afternoon concert in Antwerp , Belgium and a night concert in Amsterdam with willem. what an active time. one of those days , the GUNTER HAMPEL GROUP was playing at the Comblain la Tour JazzFestival our performance was from 7-8 and while we were performing Benny Goodman was storming the stage with his filming director from the ABC TV USA and Benny was asking me, while we played, if he could record our performance.i stayed cool and asked back, what about a contract."we do this all later" sobut the fact was,Benny Goodman was so bewildered about our playing with 2 bassclarinets. ( i didn't now at that time, that he already had recorded ,playing bassclarinet 1934 on a disk with Red Norvo. so ABC filmed it. when i went to sign a contract, open air festival- Stan Getz,Gary Burton, Roy HAYNes were in that room and cAME over to tell me, how much they enjoyed our set and what a great band that was, revolutionizing and adding a new way of listening and new images etc...and wherever i looked , smiling faces.AND : benny actually ,a few month later, started his TV on nationwide USA ABC BENNY GOODMAN SHOW with my GUNTER HAMPEL GROUP and was telling the USA that the jazzmusic is evoluting, because of groups like mine. that saw Bernhard Stolman , who had just founded ESP and i was the first EUROPEAN to be asked to publish a LP on his only avantgarde jazz label in the world (then) ESP 1o42 MUSIC FROM EUROPE when we recorded this, i met my future wife and mother of our 2 great children, Ruomi and Cavana, JEANNE LEE at that recording session, which then influenced my move to NEW YORK in 1969 after we recorded that MASTERPIECE -THE 8TH OF JULY 1969- with Jeanne Lee, Anthony Braxton,WIllem Breuker,Arjen Gorter and Steve McCall in Baarn,NL which is still unsurpassed even today. But until i formed my GALAXIE DREAM BAND in NEW YORK , Willem and me were still involved with my Gunter Hampel GROUP n performig all over europe , we had sometimes John Tchicai playing with us, until 1972. 1997 we did a reunion of our Group at the MUSIC TRIENNALE in cologne, and i have a great tape from that concert ready to be published, whenever there will be the demand and the money. on june 23 rd , 2o1o i had a great concert with my fabulous EUROPEAN QUARTET at the bimhuis in Amsterdam. after the concert someone told me that Willem was very sick. so , before we continued to go to Texel to record a new CD and have a great concert there . i called willem , to may be visit him. but since no one took the phone , i had had no chance to say goodbye to him, because our tour schedule was too tight to stay in amsterdam. i am shure, wherever he is now , he will be having a lot of fun teasing Gabriel in heavan.he was one of the greatest musicians and composers i had he honnor to share my life with and he will have his favored food : Spiegelei mit Schinken. he is leaving a great documentation in his music about his people behind PS the documentations of our collaborations can be heard (and obtained) on birth records birth oo1 the 8th of july 1969 birh oo5 people sinfonie, frankfurt jazz festival 1971 wergo gunter hampel group (first recording with Jeanne Lee) avalable through birth deutsche grammphone Hans Werner Henze : der langwährige weg der natascha ungeheuer ,with GUNTER HAMPEL GROUP ,perf at the deutsche staatsoper in Berlin globe unity orchestra , incl.gunter hampel bcl,fl and willem breuker reeds birth CD gunter hampel group at the trienale köln 1997 CD birth DVD gunter hampel group at 6o th birthday celebration in hometown göttingen 1997 -------------------------------------------- -------------- --
abbey lincoln dies at 8o , aug 15, 2o1o
http://www.nytimes.com/2010/08/15/arts/music/15lincoln.html?_r=2&hp amazing yesterday , that was the 15 th i passed by a spot on broadway , yust the front yard of a government buildling below canal street and my mind registered here i was with Jeanne (Lee) , may be 2o years ago , and we#d had come to listen in a public concert to see and listen and talk to abbey lincoln. we had met her a couple of times, and if i am not mistaken, she was at the service when Jeanne died uptown at riverside church she had been a big inspiration to jeanne. and all of us. i first saw and heard her live in the 6o s with Max Roach quintet gh,
MARION BROWN
we spend more than 33 years together
in music
in brother-ship
geminis of choice
my friend from atlanta georgia
2 peace warriors
striving for a better world
for us and our children
and all beings
to live in.
celebrating life.
with our music
we were capable of
in jubilation of the
spirit and the earth
i am shure
we will continue
with Jeanne and Steve
to play in a little corner
of heaven's kitchen
because what we had to go through
in our lifetime
just to fullfill
our destiny
DESERVES
a place
no one will believe
unless you have lived it.
gemini brother
though we both are virgos
thx Marion.
my tears
are running wild
thx marion
my mind is just
filled
with the
journeys
of life and music
encounters and
creations
when we learned
and appreciated
our lives
by taking a fresh look
at this universe
we began to understand
and giving ourselves
to others
and served
others
with our hearts'
MUSIC
have a good journey
bro'
G.
--------------------------------------------------------------------------------
MAKE LOVE NOT WAR success story : gunter hampel's ESP-MUSIC FROM EUROPE re-issue of a 42 year old recording on the US-ESP label ------------------------------------------------------------- JAZZ-ICON GUNTER HAMPEL recorded 1966 in the netherlands a superb recording for the avantgarde label ESP. it was his second LP in his professional jazz career and his first for an US label. the first was his famous HEARTPLANTS LP with the GUNTER HAMPEL QUINTET , with Hampel on vibrafon and flute,Manfred Schoof trumpet, Alexander v, Schlippenbach piano, Buschie Niebergall bass and dutch masterdrummer Pierre Courbois, which is the first european outing on LP where europeans start to incorporate their own heritage, in this case it was the integration of the findings of the vienna new music legacy of schoenerg,webern und berg who influenced the improvising jazzgroup GUNTER HAMPEL QUINTET (from 196o-1966 )to discover the atonal music areas and going away from the 32 bars and 12 bars material to improvise in and from. Hampel started the jazzscene , the free jazz scene in europe and continues since then to explore the "infinity of NOW"( coda jazzmagazin,canada)
Don Ellis tp remarked on the ESP 1o42 MUSIC FROM EUROPE. (actually don ellis had been sitting in with the gunter hampel quintet back in 196o at the Hamburgh Jazzclub -barret- where gunter had month-long enegagements:)
"FIRST OF ALL; IT IS REFRESHING TO HEAR SOME EUROPEANS going their own way,and not merely trying to copy the latest thing in american jazz. all in all it is good to see some europeans getting over their inferior complexes and starting to stretch out and create their own music without worrying about just copying the latest record from the USA. THIS WAY THEY HAVE THE OPPORTUNITY OF REALLY CONTRIBUTING SOMETHING TO JAZZ: DJANGO DIT IT- IT IS TIME SOME OTHERS TRIED SERIOUSLY: DON ELLIS
So ,what happens next : . non other than BENNY GOODMAN heard the GUNTER HAMPEL GROUP playing at the COMBLAIN LA TOUR JAZZ FESTIVAL, comes totally enthusiastic on stage while Hampel' s group is playing and asks for permission of his NBC TV camera-team to tape Hampel's performance. Benny loved the frontline with the 2 bass clarinets (Hampel and Breuker). so, the next BENNY GOODMAN SHOW on NATIONWIDE TV starts with a 1o minute excerpt from Hampel's Group playing this new mindblowing stuff with Hampel's compositions and excursions into impromptu collective improvisations. that was in 1966. bernhard stolman from ESP saw that and sent Hampel a telegramm: produce a recording for my ESP label.! in that recording session a further influence in Hampel's carreer took place. one audience member in that recording session was JEANNE LEE, and her 2 year old daughter Naima kicked a beer bottle to a microphone and Hampel had to erase a few notes from the recordings, but:
2 weeks later, Jeanne was singing wih the GUNTER HAMPEL GROUP on new years eve in Amsterdam and was not only THE VOICE in his groups, like the GUNTER HAMPEL GALAXIE DREAM BAND,his ORCHESTRA and countless small group recordings on birth records, but they also have 2 children, RUOMI and CAVANA.
2oo8: But it is this ONE SONG: MAKE LOVE NOT WAR on the ESP recording that thrills young audiences in SOUTHAMERIKA and the USA. AIR-play on many radio stations and multiple requests for more airplay are encouraging the station managers to send Hampel emails FOR MORE OF HIS MUSIC .
so the re-issue of this ESP recording shows, that even after 42 years, how timeless Hampel's music is. and it sounds fresh, as if it was recorded an hour ago, like all of his recordings on birth records, and that are about 12o CDs-DVDs-LPS
which all have made jazz history and are introducing new works, pieces of incredible far seeing ways how to communicate with each other in the band and with the attending audience, and then ALL TOGETHER explore the still unexplored.
Hampel's contribution to jazz goes that far, that he has invented,extended, composed,explored,a field of creative energy with which the improvising musician can go beyond. beyond that horizon as a limitation fence.
the young audiences seem to catch up with the man and his music and his incredible working units who are up to this day experiencing in each concert new dimensions of creativity as a hard working collective TEAM .the GUNTER HAMPEL MUSIC+DANCE IMPROVISATION COMPANY and the GUNTER HAMPEL EUROPEAN TRIO +bass
are the rightful heirs of a music, gunter hampel started to perform in 1958 and is a continuous progression of our lives in our present days.
all about jazz : gunter hampel continues to be active at jazz-leading edge.
:" his notable career involves encyclopedic collaborations with North Amercan and continental jazz legends, as well as much younger generations of players.Hampel wisely surrounds himself with young musicians hat can both: keep up with him as well as push the proverbial envelope.TO GREAT EFFECT. His new works aren't a rehash of previous music, as Hampel's compositional well never dries up, though his characteristic jazz flavor is still evident. one can readily ascertain why his young companions are regarded as some of the best jazz musicians and why their leader is such an estalished musical figure." by Javier Antonio Quinones Ortiz all about jazz nyc ---------------------------------------------------------------------------------------------------------------------------------------------------------- the ESP and BIRTH -recordings of gunter hampel can be ordered by eMail: gunthampel@aol.com
---------------------------------------------------------------------------------------------------- gunter hampel is the featured artist in an ESP presentation on TUESDAY -FEBRUARY 17th at 1o PM,Giuseppe Loogan performs at 11PM at the POETRY CLUB on the BOWERY -below astor place in the east village ----------------------------------------------------------------------------------------------------------------------------- Gunter Hampel vibrafon,bassclarinet,flute will be heard in one of his rare SOLO- performances. He presents his newest SOLO CD birth CD o8o422 vibes'vibes a stunning recording,made in new york on april 4th, 2oo8 ----------------------------------------------------------------------------------------------------------------------------- -------we found this in TIME OUT-new york-chicago
The Volume
-
Posted in The Volume by Hank Shteamer on February 18th, 2009 at 2:26 am
Not to sound dramatic, but I learned a little lesson n
-
at the Gunter Hampel (left)/Giuseppi Logan gig at Bowery Poetry Club tonight:
-
Namely, don't privilege a great story over great music.
I had attended the ESP-Disk -sponsored show mainly to hear reed player Logan, whose improbable comeback story I recount briefly in this week's TONY. Logan's set was rocky — he seemed reluctant (or just plain unable) to blow for more than a minute or so at a time. Fortunately his sidemen — flügelhorn and bass clarinet player Matt Lavelle, bassist Francois Grillot and drummer Warren Smith — played with grace and patience, filling in the copious empty space. The notes Logan did squeeze out were compelling ones: smeared, almost sobbing. (It was hard not to think of veteran saxist Joe Maneri, who has spent decades perfecting a similarly slurry sound.) But Logan was clearly struggling, and it was probably best that his set lasted only about 20 minutes. An inauspicious reemergence, perhaps, but there was some potent raw material there, and if Logan sticks with it, he might be able to harness the vulnerability of his current sound into something special.
But back to that lesson business.… So I previewed Logan mainly on the basis of his somewhat sensational prodigal-son story — “Back after decades of homelessness and addiction!” — but neglected to mention that one Gunter Hampel was also appearing at the gig.A highly skilled German multi-instrumentalist ig. A highly who has worked steadily since the late '50s, Hampel offered a thoroughly outstanding solo turn in tonight's opening slot. Playing bass clarinet and flute, as well as vibes (sometimes two instruments simultaneously) — and looking like some sort of lanky biker punk in his leather jacket —
-
he was a model of dexterity, soul and concentration.
-
His work on vibes was particularly stellar: swinging, tender, joyous, not to mention dauntingly virtuosic. There was no fanfare or fuss to the set, just that life-affirming feeling you can get only from watching a real improvisational lifer at work. The moral here is a simple one: Yes, there's a story in Logan's comeback, but maybe there's a more compelling one in Hampel's never having left.
- a documentary DVD from this concert filmed by filmmaker Ruomi Lee Hampel
- order now by email, dvd ntsc or PAL
-
- birth DVD o9o217 LIFER -GUNTER HAMPEL-live- at the
- BOWERY POETRY CLUB -NEW YORK
-
- gunter hampel solo vibrafon-bassclarinet-flute
Subject |
