Weiter im Takt mit Bro vor und zurück
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Bro ist z.Z. in einem erstaunlichen Aktivitätsfluß qua Auftrittsanzahl, Auftrittsorten und Varietät an Besetzungen (Übersicht HIER). Was Besetzung betrifft, treten bei der bevorstehenden STRANDS-Tour Trompeter Arve Henriksen und Saxophonist Jesper Zeuthen (1949) an die Stelle von Trompeter Palle Mikkelborg (1941). Zeuthen, mit dem Bro eine längere musikalische Verbindung hat, ist eine Art Geheimwaffe, die in verschiedensten Projekten von Bro immer wieder zum Einsatz kommt. Zeuthen hat einen eher rauheren Ton.
Auf Bros eigenem Label Loveland ist gerade ein ‚dänisches‘ Album, „Sound Flower“, mit Saxophonist Jesper Zeuthen, dem Bassisten AC (Anders Christensen) und Perkussionistin Marilyn Mazur erschien. Zu sehen (Video) und zu hören auf Bandcamp.
Ebenso kommt ein langjähriger musikalischer Weggenosse von Bro, der Bassist Anders Christensen aka AC, zur Zeit vermehrt wieder zum Einsatz. AC führte Bro einst bei Paul Motian für dessen Electric Bebop Band ein, in der Bro in einer Reihe von anderen Gitarristen (Ben Monder, Brad Shepik, Steve Cardenas, Kurt Rosenwinkel) spielte. Von der E.B.B.B. erschienen 6 Alben bei Winter&Winter. Bro spielte in der letzten Phase in der Gruppe, ist aber nur auf einer Aufnahme der Folgegruppe, der Paul Motian Band, dem nach wie vor erstaunlichen Album „Garden of Eden“ (ECM 2006) mit gleich drei Gitarristen (Bro, Ben Wonder, Steve Cardenas) dabei. Als ich Paul Motian 2007 in New York traf, verkündete er erfreut, dass er in der Gruppe jetzt mit gleich drei Bassisten spielte. Das Erstaunliche war, dass die Musik mit diesen Mehrfachbesetzungen auf allen Instrumenten (ausser Drums) immer leichter klang.
Jesper Zeuthen führt uns auch zurück zu Bros Tentett, das er um den dänischen Dichter Peter Laugesen herum formierte in der Besetzung Jakob Bro (G), Peter Laugesen (gesprochenes Wort), Jesper Zeuthen (Sax), Andrew S’Angelo (Sax), Chris Speed (Sax), Nikolaj Torp Larsen (Tasten), AC (B), Thomas Morgan (B), Nicolai Munch-Hansen (B), Jakob Hoyer (Dr), Kresten Osgood (Dr). Davon ist 2015 das Album „Hymnotic/Salmodisc“ erschienen, das auf Bros Website immer noch gratis runtergeladen werden kann und eine ganz andere Seite von Bro erlebbar macht. Mit diesem Projekt geht Bro nun in leicht veränder- ter Besetzung u.a. mit belgischen Musikern auch wieder auf Tour. Diese Verbindung mit Poesie hat eine dänische Tradition.
Paul Motian hat ja nicht nur über Bro tiefe Spuren in Dänemark hinterlassen. Nikolaj Torp Larsen gehörte Anfang der 2000er der dänischen Gruppe Once Around The Park (Jakob Dinesen, Rune Harder Olesen, AC, Michael Finding, Rune Funch), benannt nach einer bekannten Komposition von Paul Motian, die Bezug nimmt auf Pauls Gewohnheit von seiner Wohnung am oberen Ende von Central Park West Richtung Harlem im Central Park zu joggen.
Weiters wird Jakob Bro beim Jazztopad Festival in Wroclaw zusammen mit Ambrose Akinmusire, Isaiah Collier, Brad Jones und Joanne Brackeen Teil des Shape-Of-Jazz-To-Come Orchesters von Denardo Coleman, dem Drummersohn von Ornette Coleman, sein. Beim Winterjazz Festival von New York im Januar wird er mit Mark Turner, CraigTaborn und Marcus Gillmore spielen. Schliesslich ist im Februar wieder die inzwischen übliche einwöchige Residenz im Village Vanguard in Manhattan angesagt.
Artistic development emerging/unfolding in vivid scenes
„In 1975, an iconic moment unfolded in the vibrant cultural tapestry of Greenwich Village, capturing the convergence of two legendary figures in music and poetry: Bob Dylan and Patti Smith. The photograph taken by Ken Regan in a stairwell during a party at Allen Ginsberg’s loft encapsulates the energy of an era defined by artistic rebellion and innovation. Dylan, with his enigmatic presence, had an undeniable impact on those around him, and his entrance into the room sparked a sense of empowerment in Smith. As she recalls in her memoir ‚Just Kids,‘ the knowledge of Dylan’s presence filled her with a sense of worth and connection, reinforcing her own identity as an artist alongside her band. This night was not just a casual gathering; it was a celebration of creative kinship that embodied the spirit of the times.“
„The meeting between Patti Smith and Bob Dylan at the Bitter End marked a significant milestone in her burgeoning career. Dylan, known for his elusive nature, rarely attended shows, making his presence a rare honor for Smith and her band. This encounter was pivotal, as she noted, ‚It was sort of a big deal, because Bob Dylan didn’t really go to see anyone.‘ Their subsequent walks and conversations allowed Smith to relate to Dylan on a deeper level. She recognised a shared artistic vision and a melding of poetry with performance that both artists embodied. This connection not only inspired Smith but also laid the groundwork for her own evolution as a musician and poet, affirming the power of collaboration within the artistic community.“
„Reflecting on their initial meeting, Smith vividly recalls the nerves and excitement of encountering a musical icon she had admired since her teenage years. ‚I mean, I loved Bob Dylan since I was 16 years old,‘ she stated, describing the moment he walked backstage. The encounter was both thrilling and intimidating, leading to a humorous exchange that revealed her playful personality. Her about disliking poetry was a defense mechanism, akin to a schoolyard crush, showcasing the mix of admiration and vulnerability she felt in Dylan’s presence. This light-hearted banter laid the foundation for a genuine friendship, emphasizing the human side of these cultural titans.“
„Bob Dylan’s support for Patti Smith and her band played a crucial role in propelling them into the limelight. His presence at their shows and subsequent endorsement brought significant attention, ultimately contributing to their eventual record deal. As Smith reminisced, his actions inspired others to take notice, proving that the endorsement of a respected figure like Dylan could open doors in the competitive music industry. This moment was emblematic of how relationships between artists can transcend mere admiration, leading to opportunities that alter the course of one’s career.“
„The friendship that blossomed between Smith and Dylan exemplifies the artistic camaraderie that characterized the vibrant scene of the 1970s. Their shared experiences in New York City’s creative crucible fostered a mutual respect for each other’s artistry. Smith’s acknowledgment of Dylan’s ‚arrogance‘ and ‚humor‘ reflects the complex nature of their bond, allowing her to embrace the idiosyncrasies of a man whose influence loomed large over contemporary music. As they navigated their individual journeys, their connection served as a reminder of the profound impact artists can have on one another, shaping their trajectories in unpredictable ways.“
„Today, as we look back on this pivotal encounter, it serves as a reminder of the interconnectedness of art and the powerful relationships that can emerge from shared passions. Patti Smith’s collaboration with Bob Dylan not only enriched her artistic vision but also highlighted the importance of community within the creative landscape. Their story continues to inspire aspiring musicians and poets, illustrating that even the most figures began their journeys through authentic connections, laughter, and a mutual appreciation for the transformative power of art.“
SOURCE: Historic Lens Stories
THE GESTURE of SOUND, THE GESTURE of COLOUR
CHIRONOMIC ORCHESTRA – THE GESTURE of SOUND, THE GESTURE of COLOUR –
an album
You can listen to the music, view the drawings and read the liner notes on
Parma connection : I met Roberto Bonati, a double bass player from Parma, a few years ago in Trond- heim, Norway. Since then continuous lively inspirational exchange came into being and lead into trustful cooperation. I wrote liner notes for the two albums “Il Suono Improvvise” and “Whirling Leaves”, of the Chironomic Orchestra, founded and led by Roberto, who not only is a teacher at Parma Conservatory but also Artistic Director of the annual Parma Frontière Festival. In 2022 – after the Corona pandemic – the festival invited me to participate as visual artist with projections of my live drawing in the concert of the Chironomic Orchestra in the old Valserena Abbey.
Scenery : this recorded concert took place at the old Valserena Abbey ante portas of Parma. The music was created by a nineteen piece orchestra only on the basis of hand signs and hinting body movements of Roberto Bonati standing in front of the half circle of the executing musicians. Bonati and his musicians built up and unfolded their dramaturgy of orchestrations from the interaction of the gestured signs and their mutual interpretation thereby giving it shape through their instruments in a rich and challenging actual field of interacting sources and forces.
Line-up : 3 vocals, 4 double basses, 3 violins, 1 guitar, 2 trumpets, 3 saxophones, 2 clarinets
Chironomic is derived from old Greek meaning: moving hands/arms in cadence. Roberto Bonati finding inspiration in the conduction practice of US-American musician Butch Morris (1947-2013), the sound painting approach of Walter Thompson (1952) and the hand sign practice in Gregorian Chants in Europe, developed his own approach and practice from it, working with dramaturgical building blocks that are freely, variably and communally given shape in real time creation.
Listening visually projected simultaneously : in this concert visual artist Henning Bolte drew/painted his perception of the music in synch with the inner rhythm, texture, temperature, mood and overall dynamics of the musical real time creation. This live drawing/painting was projected on a large screen visible and followable for the audience.
Documenting tableau : The booklet contains some of these live drawings/paintings that came into being synchronously with the creational performing process of the music by the musicians. They are part of a documenting tableau of that complex and vibrating process of creation in the Valserena Abbey.
You can listen to the music, view the drawings and read the liner notes on
Bildrätsel #1
Gestalt und Aussehen von Musikern sind uns vor allem durch die vielfache mediale Vermittlung (Foto, Video, Plattencover) bekannt, vertraut. Es kann dann aber auch passieren, dass man sie ausserhalb des medialen Rampenlichts manchmal gar nicht direkt wiedererkannt. Ab und zu begegnet man auch Fotos, auf denen sie in unbekannter Perspektive mit geringerem Wiedererkennungseffekt erscheinen. Wie etwa auf folgendem Foto. Die Gruppe war eine meiner Lieblingsbands Ende der 60er Jahre. Vor allem wegen des prägenden Einflusses der Jam-Qualitäten ihrer live Konzerte. Das machte mich in den Tagen schwer an. Die Stimme des Vokalisten (und Multiinstrumentalisten) begleitete mich bereits durch meine frühe Jugend. Wohl auch, weil er kaum älter war als ich selbst, als seine Stimme auftauchte und durchbrach.
Ostinato Forces : Carlos Bica „BELIEVER“
There are a couple of legendary double bass pieces … as „Jade Vision“ by Scott LaFaro or „Silence“ by Charly Haden, „Pendulum“ by Eberhard Weber … Starting here, triggers more pieces, yes, for sure …
One of the strongest resonating bass pieces is no doubt „Believer“ by Carlos Bica, released in 2006 on the Enja label with his group AZUL, the still existing trio of Carlos, Jim and Frank augmented by guest DJ Illvibe. „Believer“ is music, die das Herz höher schlagen lässt und die Seele singen lässt. Und so viel mehr. And much much more …
„Believer“ brilliantly unleashes the inherent forces of the ostinato in the footsteps of Ravel from a truly deeper place. It is beautifully cycling,it is suggestive, hymnic and intimate. It circles freely, it swings, it rocks. It gives birth to melodic flights of fancy and keeps all connected to the stamping ground. You can dream and dance to it. It zooms in and out, flies high and dives deep in its perpetuum mobile quality. It’s a port and moving passage. It houses African as well as Lusitanian traces.It is a song of songs spreading joy and confidence. It murmurs and celebrates. It invites and is a companion.
There are a couple of versions in different line-ups to sound out its manifold possibilities
LIVE AT SINES w/ Jim Black, Frank Möbus and DJ Illvibe
In duo w/ pianist Joåo Paulo Esteves da Silva
LIVE AT Teatro São Luiz in Lisbon w/ Joåo Paulo Esteves da Silva, Mario Delgado (g) and João Lobo (dr)
Solo w/ pianist Joåo Paulo Esteves da Silva
Apropos Carlos Bica : his newest album „11:11“ is an all-Lusitanian affair, released on CLEAN FEED with a convincing and highly captivating Portuguese line-up: Eduardo Cardino on vibraphone, José Soares on alto sax and Gonçalo Neto on guitar and banjo. The album is on the newest longlist of Preis der deutschen Schallplattenkritik.Motian continued : Jim Pepper
Paul Motian’s nice Cindy McGuirl maintains her uncle’s archive (Uncle Paul’s Jazz Closet Radio) and runs a revealing podcast with interesting, surprising, astonishing material from that extensive archive. This time material is presented on the occasion of Indigenous People’s Day related to Motian’s fellow musician Jim Pepper (1941-1992), a Kaw Muskogee Creek native. Yes right, the one and only Jim Pepper of the famous WITCHI-TAI-TO, that Peyote cult song. Besides Pepper there are more Native American influences in jazz and popular music e.g. Don Pullen, Don Cherry, Robbie Robertson and Jimi Hendrix.
here is THE BLOGSPOT and here is THE PODCAST
Live zählt
Ganz früher kündeten Bilder, Texte und mündliche Erzählungen von groBartigen, verrückten, merkwürdigen usw. Ereignissen. Tondokumente? Für tausende von Jahren: Fehlanzeige. Nun hat es sich seit 150 Jahren beinahe umgekehrt. Ton und Bild vereint in Bewegung suggerieren ein aktuelles Dabeisein. Vergangene Zeit eingefroren, Gegenwart beliebig wiederholbar. Was noch fehlt, ist das reale Energiefeld, der Geruch, die Temperatur, der soziale Vibe, das Wetter. Das muss Lauschende(r) selbst schaffen.
Live demnext … Trygve Seim speaking:
Looking forward to create music in the moment again, together with my heroes Arve Henriksen, Anders Jormin and Markku Ounaskari, at concert venue Stadtgarten in Köln (Cologne), Germany, this coming saturday, October 12th at 8pm.I hope to see y’all ( … ) there