Text

Epistrophy Arts presents the debut performance of free music icons

Peter Brötzmann and Joe McPhee 

 

image

.Friday, May 31st.  8PM

tickets available online on May 20

Waller Creek School Auditorium (719 E. 41st Austin, 78751)

Epistrophy Arts is proud to present this unique collaboration between two Free Jazz heavyweights, the German saxophonist Peter Brötzmann and the American saxophonist and trumpeter Joe McPhee.

Peter Brötzmann “has abundant nonstandard technique, a vocabulary, but what impresses in his playing isn’t the execution so much as the force of presence. He recently turned 70, and he sounds almost invincible,” writes the New York Times. Brötzmann is the most vital European Free Jazz musician of his generation. His 1967 album, Machine Gun, remains the most celebrated document of the early-Free Jazz movement, and ever since, Brötzmann has pushed the boundaries of jazz experimentation. He has worked with Derek Bailey, Han Bennink, Willem Breuker, Andrew Cyrille, Anthony Braxton, and Evan Parker, and has led numerous large ensembles since the 1960s, including the Chicago Tentet. He received the Vision Fest’s Lifetime Achievement Award in 2011, and was the subject of two documentary films released in the same year.

Since his emergence on the creative jazz and new music scene in the late 1960s, Joe McPhee has been a deeply emotional composer, improviser, and multi-instrumentalist, as well as a thoughtful conceptualist and theoretician. McPhee’s first recordings as leader were Underground Railroad (1969), Nation Time (1970), and Trinity. He has since worked with Pauline Oliveros, Ken Vandermark, Evan Parker, Mats Gustafsson, Chris Corsano and Peter Brötzmann. His recent releases include a duo recording on Clean Feed with the bassist Ingebright Haker Flaten, and a duo recording with the multi-instrumentalist Eli Keszler.

photo:Peter Gannushkin / DOWNTOWNMUSIC.NET

This project is funded and supported in part by the City of Austin through the Economic Growth & Redevelopment Services Office/Cultural Arts Division believing an investment in the Arts is an investment in Austin’s future. Visit Austin at NowPlayingAustin.com.

Text

Epistrophy Arts presents Peter Brotzmann/Jason Adasiewiecz Duo

Epistrophy Arts is proud to present the international, inter-generational Jazz duo of Peter Brötzmann and Jason Adasiewicz on Friday September 21, 11PM at the 29th St. Ballroom in Austin, Texas.  

Friday September 21 11:00 PM  (doors 10:30)

29th Street Ballroom
2908 Fruth St. map

16 advance tickets available at

Peter Brötzmann - reeds
Jason Adasiewicz - vibraphone

NYT review of duo’s NYC performance

He has been changing people’s minds about music for almost half a century. For those seeking a performance that stirs their passion while also challenging their perspective, German free jazz artist and Austin favorite Peter Brötzmann returns to town with a new exciting project. With 16 complete solo albums and numerous collaborative recordings and concert tours worldwide for over 40 years, Brötzmann has been described as “a towering presence in European free music since the 1960s”

Nate Chinen of the NY Times chose the Duo’s only North American performance so far as one of his ten best concerts in any genre of 2011. “Brötzmann has abundant nonstandard technique, but what impresses in his playing isn’t the execution so much as the force of presence,” writes Chinen. “He recently turned 70, and he sounds almost invincible.” The saxophonist is joined by the “deft, dynamic young vibraphonist”, Jason Adasiewicz.

For Peter Brötzmann, 40-plus years of playing improvised music has produced - even just on recorded evidence - a list of associates that include just about all the major figures in creative music: Derek Bailey, Cecil Taylor, Han Bennink, Rashied Ali, Evan Parker, Misha Mengelberg, Anthony Braxton, Marilyn Crispell and Andrew Cyrille. Always characterized as an energy player - and the power-rock setting of Last Exit with Ronald Shannon Jackson, Sonny Sharock and Bill Laswell, did little to disperse this conviction - his sound is one of the most distinctive, life-affirming and joyous in all music.
“The huge, screaming sound he makes is among the most exhilarating things in the music,” says Brian Morton, “and while he has often been typecast as a kind of sonic terrorist, that does insufficient justice to his mastery of the entire reed family.”
Born in Remscheid, Germany on 6 March 1941, Brötzmann’s early interest was in painting and he attended the art academy in Wuppertal. Soon thereafter, his main occupation became music (though he continues to create visual art.) Self-taught on clarinets, he soon moved to saxophones and began playing swing and bebop. Associations with bassist Peter Kowald, Don Cherry, Alex von Schlippenbach and Steve Lacy during the 1960s brought a new freedom to Brötzmann’s approach. He continues to tour and record widely with Die Like a Dog (Hamid Drake, William Parker and Toshinori Kondo), the Chicago Tentet, and a variety of duo projects.

Jason Adasiewicz (pronounced “Ad-a-SHEVE-its) is a vibraphonist, drummer, and composer, and an integral member of Chicago’s jazz and improvised music scene. His aggressive yet lyrical style can be heard in over 10 working Chicago groups, including those led by Rob Mazurek, Nicole Mitchell, Mike Reed, Josh Berman, and Ken Vandermark. Adasiewicz won the 2011 Downbeat Annual Critic’s Poll in the Rising Star Vibes category, and for the last two years has been nominated by the Jazz Journalists Association as a finalist for ‘Mallet Instrumentalist of the Year’. His quintet Rolldown, and his trio Sun Rooms have each release two recordings. Sun Rooms received top jazz releases of 2010 honors in the New York Times, The Village Voice, The Chicago Tribune, Dusted Magazine and The Chicago Reader.

“Jason Adasiewicz’s vibes shimmer in the ether,” writes trumpeter Rob Mazurek, “A true original with a deep sensibility for sound vibration that can be heard through his innate and idiosyncratic approach to harmony and melody. Jason’s musical history is spiked with fervent free improvisation and tight melodic rendering.”

“A more accommodating rapport emerged in the second set, featuring Mr. Brötzmann with the versatile young vibraphonist Jason Adasiewicz. Beginning in anxious clangor — alto saxophone blare, wood mallets jack-hammered sideways along the metal bars — their duologue gradually softened and ripened, occasionally flirting with outright beauty. Mr. Adasiewicz was the agent of that flirtation, but his approach was hardly typical. At one point he created a glowing drone from the vibraphone with two violin bows, clutching them like ski poles. Mr. Brötzmann responded with a stretch of unusually songlike playing, one long tone after another, before resuming his eruptive norm.”

“Brötzmann, the guest of honor at this year’s Vision Festival, played in three separate ensembles, each breathtaking on its own terms. My favorite was this unexpectedly accommodating duo with Adasiewicz, a vibraphonist of exacting tonal effect. A genuine conversation, it covered the full dynamic spectrum, from expectaint hush to meteor-hits-the-building.” -Nate Chinen New York Times

this project is supported through individual contributions, and by the City of Austin through the Cultural Arts Division.

Photo
Instant Composers Pool (ICP) Orchestra, Austin Texas, 4/7/2011.  www.epistrophyarts.org

Instant Composers Pool (ICP) Orchestra, Austin Texas, 4/7/2011.  www.epistrophyarts.org

Link