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![Die Like A Dog (Brotzmann / Kondo / Parker / Drake): Fragments Of Music, Life And Death Of Albert Ay (Cien Fuegos) Die Like A Dog (Brotzmann / Kondo / Parker / Drake): Fragments Of Music, Life And Death Of Albert Ay (Cien Fuegos)](https://www.teuthida.com/productImages/misc4/35105.jpg)
First vinyl pressing of this '93 Berlin concert at Townhall Charlottenburg from the quartet of Peter Brotzmann on alto & tenor saxophones & tarogato, Toshinoro Kondo on trumpet, William Parker on double bass and Hamid Drake on drums, improvising under the influence and showing their love of saxophonist Albert Ayler through quotation and fragments of Ayler's work.
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Peter Brotzmann-alto saxophone, tenor saxophone, tarogato
Toshinori Kondo-trumpet
William Parker-double bass
Hamid Drake-drums
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UPC: 9120036684041
Label: Cien Fuegos
Catalog ID: CF 032LP
Squidco Product Code: 35105
Format: 2 LPs
Condition: New
Released: 2024
Country: Austria
Packaging: Double LP in a Gatefold Sleeve
Recorded at Townhall Charlottenburg in Berlin, Germany, in August, 1993, by Jonas Bergler and Jost Gebers.
Originally released in 1994 as a Compact Disc on the FMP label with catalog code FMP CD 64.
"The idea of expressing my love of and admiration for Albert Ayler -- both man and music -- in a musical statement is not new. We both tried to do similar or almost identical things at the same point in time, each independently and without knowing anything about each other -- each of us within his own culture." This album was recorded in August 1993 at Townhall Charlottenburg in Berlin, and was released in 1994 by FMP."-Peter Brötzmann
"Thirty years after its release, the debut album of the free jazz supergroup Die Like A Dog - German reeds titan Peter Brötzmann (on alto and tenor saxes and the tarogato), Japanese trumpeter Toshinori Kondo (on electric trumpet) and the American rhythm section of double bass player William Parker and drummer-percussionist Hamid Drake - is rereleased as a double vinyl, and remastered for vinyl (by Martin Siewert, the guitarist of Radian). This quartet was inspired by the music of free jazz pioneer Albert Ayler (1936-1970), whose lifeless body was found in New York City's East River.
The original album was released by the legendary German label FMP in 1994 and was recorded live at Townhall Charlottenburg in Berlin in August 1993. Brötzmann's liner notes expressed his great love for the music of Ayler and for Ayler as a role model but also expressed a deep personal reflection about Ayler as a kindred spirit who experienced a common struggle to communicate their revolutionary artistic vision and shared a similar longing for a better world. "Many people didn't listen to him, he was disputed until the end of his short life. Most of all the critics and organizers mostly didn't know what to do with him. The audience, especially in Europe, loved him", Brötzmann notes. "The idea of expressing my love of and admiration for Albert Ayler - both man and music - in a musical statement is not new. We both tried to do similar or almost identical things at the same point in time, each independently and without knowing anything about each other - each of us within his own culture".
Brötzmann wanted to enlist drummer Milford Graves ("who stood by Ayler during the last months of his life") for this project but Graves did not like traveling. Kondo and Parker worked before with Brötzmann (most recently in The März Combo Live In Wuppertal, FMP, 1993) and Drake also recorded with Brötzmann shortly before the formation of Die Like A Dog (Hyperion, with pianist Marilyn Crispell, Music & Arts, 1995), and all continued to work Brötzmann. They were considered as the natural choices for such a demanding project. Die Like A Dog reconstructs cleverly the legacy of Ayler with very short quotations of his music - "Prophet" (from Spirits Rejoice, ESP-Disk, 1965), "Ghosts" (from the album by the same name, Fontana, 1965), "Spirits" (from the album by the same name, Debut, 1964) and "Bells" (from the album by the same name, ESP-Disk, 1965), and covered the gospel-blues standard "Saint James Infirmary".
If you have not experienced the phenomena of this great quartet do yourself a great favor and rush to check it out. The music is still as powerful and invigorating, inspiring and uplifting as it was the first time I listened to it. The turbulent and passionate energy of Die Like A Dog can energize- or better, enlighten - a small town on any given day. The synergy of Brötzmann and Kondo is simply magical, feeding each other in a profound poetic and lyrical manner and with uncompromising, manic yet deeply emotional intensity. The rhythm section of Parker and Drake lifts the quartet even higher, with a spiritual-hypnotic force, just like Alan Silva and Graves did in the iconic Ayler's album Love Cry (Impulse!, 1968). Together, this supergroup offers a stimulating, cathartic antidote to our stressful, troubled era, then, now and forever. Die Like A Dog was a collective that sounded greater than its parts and reflected faithfully Ayler's most beautiful belief that music is the healing force of the universe."-Eyal Hareuveni, The Free Jazz Collective
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Artist Biographies
• Show Bio for Peter Brotzmann "Born Remscheid, Germany on 6 March 1941; soprano, alto, tenor, baritone and bass saxophones, a-clarinet, e-flat clarinet; bass clarinet, tarogato. Peter Brötzmann's early interest was in painting and he attended the art academy in Wuppertal. Being very dissatisfied with the gallery/exhibition situation in art he found greater satisfaction playing with semi-professional musicians, though continued to paint (as well as retaining a level of control over his own records, particularly in record sleeve/CD booklet design). In late 2005 he had a major retrospective exhibition jointly with Han Bennink - two separate buildings separated by an inter-connecting glass corridor - in Brötzmann's home town of Remscheid. Self-taught on clarinets, he soon moved to saxophones and began playing swing/bebop, before meeting Peter Kowald. During 1962/63 Brötzmann, Kowald and various drummers played regularly - Mingus, Ornette Coleman, etc. - while experiencing freedoms from a different perspective via Stockhausen, Nam June Paik, David Tudor and John Cage. In the mid 1960s, he played with American musicians such as Don Cherry and Steve Lacy and, following a sojourn in Paris with Don Cherry, returned to Germany for his unorthodox approach to be accepted by local musicians like Alex von Schlippenbach and Manfred Schoof. The trio of Peter Brötzmann, Peter Kowald and Sven-Ake Johansson began playing in 1965/66 and it was a combination of this and the Schoof/Schlippenbach Quintet that gave rise to the first Globe Unity Orchestra. Following the self-production of his first two LPs, For Adolphe Sax and Machine gun for his private label, BRÖ, a recording for Manfred Eicher's 'Jazz by Post' (JAPO) [Nipples], and a number of concert recordings with different sized groups, Brötzmann worked with Jost Gebers and started the FMP label. He also began to work more regularly with Dutch musicians, forming a trio briefly with Willem Breuker and Han Bennink before the long-lasting group with Han Bennink and Fred Van Hove. As a trio, and augmented with other musicians who could stand the pace (e.g. Albert Mangelsdorff on, for example, The Berlin concert), this lasted until the mid-1970s though Brötzmann and Bennink continued to play and record as a duo, and in other combinations, after this time. A group with Harry Miller and Louis Moholo continued the trio format though was cut short by Miller's early death. The thirty-plus years of playing and recording free jazz and improvised music have produced, even on just recorded evidence, a list of associates and one-off combinations that include just about all the major figures in this genre: Derek Bailey (including performances with Company (e.g. Incus 51), Cecil Taylor, Fred Hopkins, Rashied Ali, Evan Parker, Keiji Haino, Misha Mengelberg, Anthony Braxton, Marilyn Crispell, Andrew Cyrille, Phil Minton, Alfred 23 Harth, Tony Oxley. Always characterised as an energy player - and the power-rock setting of Last Exit with Ronald Shannon Jackson, Sonny Sharock and Bill Laswell, or his duo performances with his son, Casper, did little to disperse this conviction - his sound is one of the most distinctive, life-affirming and joyous in all music. But the variety of Brötzmann's playing and projects is less recognised: his range of solo performances; his medium-to-large groups and, in spite of much ad hoc work, a stability brought about from a corpus of like- minded musicians: the group Ruf der Heimat; pianist Borah Bergman; percussionist Hamid Drake; and Die like a dog, his continuing tribute to Albert Ayler, with Drake, William Parker and Toshinori Kondo. Peter Brötzmann continues a heavy touring schedule which, since 1996 has seen annual visits to Japan and semi-annual visits to the thriving Chicago scene where he has played in various combinations from solo through duo (including one, in 1997, with Mats Gustafsson) to large groups such as the Chicago Octet/Tentet, described below. He has also released a number of CDs on the Chicago-based Okka Disk label, including the excellent trio with Hamid Drake and the Moroccan Mahmoud Gania, at times sounding like some distant muezzin calling the faithful to become lost in the rhythm and power of the music. The "Chicago Tentet" was first organized by Brötzmann with the assistance of writer/presenter John Corbett in January 1997 as an idea for a one-time octet performance that included Hamid Drake and Michael Zerang (drums), Kent Kessler (bass) and Fred Lomberg-Holm (cello), Ken Vandermark and Mars Williams (reeds), and Jeb Bishop (trombone). The first meeting was extremely strong and warranted making the group an ongoing concern and in September of that same year the band was expanded to include Mats Gustafsson (reeds) and Joe McPhee (brass) as permanent members (with guest appearances by William Parker (bass), Toshinori Kondo (trumpet/electronics), and Roy Campbell (trumpet) during its tenure) - all in all a veritable who's who of the contemporary improvising scene's cutting edge. Though the Tentet is clearly led by Brötzmann and guided by his aesthetics, he has been committed to utilizing the compositions of other members in the ensemble since the beginning. This has allowed the band to explore an large range of structural and improvising tactics: from the conductions of Mats Gustafsson and Fred Lonberg-Holm, to the vamp pieces of Michael Zerang and Hamid Drake, to compositions using conventional notation by Ken Vandermark and Mars Williams, to Brötzmann's graphic scores - the group employs almost every contemporary approach to composing for an improvising unit. This diversity in compositional style, plus the variety in individualistic approaches to improvisation, allows the Tentet to play extremely multifaceted music. As the band moves from piece to piece, it explores intensities that range from spare introspection to all out walls of sound, and rhythms that are open or free from a steady pulse to those of a heavy hitting groove. It is clear that the difficult economics of running a large band hasn't prevented the group from continuing to work together since its first meeting. Through their effort they've been able to develop an ensemble sound and depth of communication hard to find in a band of any size or style currently playing on the contemporary music scene." ^ Hide Bio for Peter Brotzmann • Show Bio for Toshinori Kondo "Toshinori Kondo (December 15, 1948 in Ehime Prefecture) is an avant-garde jazz and jazz fusion trumpeter. Kondo attended Kyoto university in 1967, and became close friends with percussionist Tsuchitori Toshiyuki. In 1972 the pair left university, and Toshiyuki went on to work with Peter Brook, while Kondo joined Yosuke Yamashita. In 1978 he moved to New York, and began performing with Bill Laswell, John Zorn, Fred Frith, and Eraldo Bernocchi. A year later he released his first recording, toured Europe with Eugene Chadbourne, and collaborated with European musicians such as Peter Brotzman. Returning to Japan, he worked with Ryuichi Sakamoto, Kazumi Watanabe, and Herbie Hancock. In the mid-1980s he began focusing on his own career, blending his avant-garde origins with electronic music. In 2002, he worked on an international peace festival in Hiroshima after being approached by the Dalai Lama about organizing one. He is a former member of Praxis. Kondo cooperated with Bill Laswell to make the album Inamorata in 2007. He founded the band Kondo IMA in 1984. Kondo IMA achieved commercial success but moved to Amsterdam to be alone and to start "Blow the Earth" in 1993. They started "Blow the Earth in Japan" in the summer of 2007 and ended in the autumn of 2011. The film Blow the Earth in Japan is his first experience as a film director." ^ Hide Bio for Toshinori Kondo • Show Bio for William Parker "William Parker is a bassist, improviser, composer, writer, and educator from New York City, heralded by The Village Voice as, "the most consistently brilliant free jazz bassist of all time." In addition to recording over 150 albums, he has published six books and taught and mentored hundreds of young musicians and artists. Parker's current bands include the Little Huey Creative Music Orchestra, In Order to Survive, Raining on the Moon, Stan's Hat Flapping in the Wind, and the Cosmic Mountain Quartet with Hamid Drake, Kidd Jordan, and Cooper-Moore. Throughout his career he has performed with Cecil Taylor, Don Cherry, Milford Graves, and David S. Ware, among others." ^ Hide Bio for William Parker • Show Bio for Hamid Drake "Hamid Drake (born August 3, 1955) is an American jazz drummer and percussionist. He lives in Chicago, IL but spends a great deal of time touring worldwide. By the close of the 1990s, Hamid Drake was widely regarded as one of the best percussionists in jazz and avant improvised music. Incorporating Afro-Cuban, Indian, and African percussion instruments and influence, in addition to using the standard trap set, Drake has collaborated extensively with top free-jazz improvisers. Drake also has performed world music; by the late 70s, he was a member of Foday Musa Suso's Mandingo Griot Society and has played reggae throughout his career. Drake has worked with trumpeter Don Cherry, pianist Herbie Hancock, saxophonists Pharoah Sanders, Fred Anderson, Archie Shepp and David Murray and bassists Reggie Workman and William Parker (in a large number of lineups) He studied drums extensively, including eastern and Caribbean styles. He frequently plays without sticks; using his hands to develop subtle commanding undertones. His tabla playing is notable for his subtlety and flair. Drake's questing nature and his interest in Caribbean percussion led to a deep involvement with reggae." ^ Hide Bio for Hamid Drake
9/9/2024
Have a better biography or biography source? Please Contact Us so that we can update this biography.
9/9/2024
Have a better biography or biography source? Please Contact Us so that we can update this biography.
9/9/2024
Have a better biography or biography source? Please Contact Us so that we can update this biography.
9/9/2024
Have a better biography or biography source? Please Contact Us so that we can update this biography.
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Track Listing:
SIDE A
1. No. 1 (21:47) SIDE B
1. No. 2 Pt. 1 - A Saint James infirmary (Don Redman) (4:07) 2. No. 2 Pt. 2 (10:37) 3. No. 2 Pt. 3 - Saint James Infirmary (Don Redman) (1:15) SIDE C
1. No. 3 Pt. 1 - A Two Birds In A Feather (Peter Brotzmann) (1:23)
2. No. 3 Pt. 2 (17:28)
SIDE D
1. No. 4 (16:05)
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Vinyl Recordings
Improvised Music
Jazz
Free Improvisation
European Improvisation, Composition and Experimental Forms
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