Bernd Konrad - Hans Koller Unit (w/ Didier Lockwood) - Phonolith

Drawing on two studio sessions from 1980 and 1994, this fine recording was somehow not released until the year 2000. The liners refer to this as "German Jazz without the wince," although it might be better described as adventurous jazz performed by (mostly) German musicians. The several conglomerations perform pieces by Bernd Koller, with one track featuring Koller performing a satisfying solo rendition of Billy Strayhorn's "Lushlife." The highlights of the disc are the five sextet pieces (including a version of "Phonolith 1," in which violinist Didier Lockwood plays a prominent role), and the compelling nonet rendition of "Phonolith 2". There are wonderful solos from Konrad (on both soprano and baritone saxophones), Koller (on tenor saxophone and sopranino), and Lockwood, and the compositions, at their best, rise to highly creative levels. Konrad's writing is especially impressive for the horns, as a sensitive melodiousness mixes with restrained saxophone solos that dig into the chordal implications of the tunes. The duo of trumpeters Kenny Wheeler and Herbert Joos helps charge the nonet. Steven Loewy, All Music Guide

The meaning of the word "phonolith" is sound-stone, and though I've never to my knowledge tried the sound of a phonolith, it seems an apt word to describe the structure of this composition. Konrad's composition creates a masterful balance of composed and improvised parts. This is not about the loneliness of the soloist (they are not left alone in their a capella parts, and in the second version there are duos anyway), it is about the constant change of texture, about construction and decay, about what we used to call deconstruction. The soundness of this stone, if you pardon the pun, is incredible. Stephan Richter

1. Phonolith 1
2. Traumtänzer
3. Nordlicht
4. Aufwärtsregen
5. Jeannerette
6. Lush Life
7. Sleepwalk
8. Phonolith 2

(#1-5)
Bernd Konrad - soprano & bariton sax
Hans Koller - tenor & sopranino sax
Didier Lockwood - violin
Christoph Spendel - piano
Thomas Stabenow - doublebass
Martin Bues - drums

(#6)
Hans Koller - tenor sax
(#7)
Bernd Konrad - bariton sax
Hans Koller - sopranino

(#8)
Bernd Konrad - bariton sax
Hans Koller - tenor sax
Ekkehart Rossle - tenor sax
Kenny Wheeler - trumpet
Herbert Joos - trumpet
Paul Schwarz - piano
Thomas Heidenpriem - double bass
Pierre Favre - drums
Michael Kersting - drums

#1-5 recorded in Stuttgart March 12 1980
#6-8 recorded in Ludwigsburg 1994
All compositions by Konrad except #5 (by Koller) and #6 (by Billy Strayhorn)
Released by Hat Hut in a limited edition of 3000 cds in 2000

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Anthony Braxton - News From the 70s

"There can be few jobs in the jazz world better than that of Francesco Martinelli, the Italian music journalist who was invited into Braxton's basement in 1996, where he came across a cardboard box of tapes from the 1970s that had never seen the light of day. From that box Martinelli curated this compilation of unreleased Braxton tracks. The album fulfils its purpose as a document of Braxton's music in the mid 70s very well indeed, the tracks showing several aspects of his unique style.

Most exciting are the three tracks recorded in groups featuring the great Dave Holland, especially 'Composition -1' which is a duet between these two giants of free jazz. Elsewhere, there are two solo performances on alto by Braxton (compositions 8c and 8g), and a percussionless group ('Composition -2'). The music covers the breadth of Braxton's 70s output - the solo pieces are alternately firey and reflective, while the group improvisations are typically more intense. Notable amongst these is 'Composition 23E' - a piece dedicated to Albert Ayler that is certainly as intense as any in that great player's catalogue. After a haunting, tension filled opening section, backed by Holland's insistent, bowed bass, the band unleash a collective improvisation. Braxton in particular plays like a man posessed, with a power and sense of control that had seldom been seen in free jazz since the passing of John Coltrane. The fact that Braxton chooses to play this piece largely on soprano only serves to increase the similarities to Trane.

But simply aping Coltrane is not what Braxton is about; his compositions are much more original than that, and the solo pieces are the places to see this best. Both are typically angular, with '8C' being a little calmer and more rounded than the jagged '8g'. Braxton was one of the first saxophonists to realise the potential of solo performance, and these riveting pieces of music are sure to convert sceptics everywhere.
The only piece to sound less than Braxton-ish is the closing Dave Holland composition, 'Four Winds'. A live version of the lead track on his seminal 'Conference of the Birds', Braxton plays a smaller part than elsewhere on the album. It's still a great piece of music though and fairly crackles along with some superb playing by Holland and a fine trombone solo courtesy of George Lewis.
As a retrospective of Braxton's 70s output for the committed fan there is plenty of meat here, but the record would also work well as a primer for those new to his music. Highly recommended." Craig

1. Composition 23E (Gronigen, May 1974)
Kenny Wheeler - flugehorn
Anthony Braxton - sopranino, clarinet, piccolo
Dave Holland - double-bass
Barry Altschul - percussion

2. Composition 8C (France, 1971)
Anthony Braxton - alto sax

3. Composition -1 (NY, May 1972)
Anthony Braxton - clarinet
Dave Holland - cello

4. Composition -2 (Nantes, 1973)
Kenny Wheeler - flugehorn
Anthony Braxton - sopranino, clarinet, piccolo
Antoine Duhamel - piano
François Mechali - double-bass

5. Composition 8G (France, 1971)
Anthony Braxton - alto sax

6. Four Winds (Graz, Austria, 1976)
George Lewis - trombone
Anthony Braxton - sopranino, clarinet, piccolo
Dave Holland - double-bass
Barry Altschul - percussion

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