I am sure this is fantastic concert and deserves our attention again. I fixed the sound quality (eliminate noise), designed the new cover and now is before you in the form of albums, and in my collection is in the department of "Private recording", catalog # / DP-0803. I got this gig from my friend Martin five years ago, recorded on tape. Otherwise, I would recommend this blog, a few months back again is activated: This event in two long sets, was never officially recorded, and was placed on the DIME and Ubu Roi (post from Monday, May 11, 2009, -FLAC). The concert was held in Berlin at the famous Quasimodo 14 January in 1985. Today I present to Peter Brötzmann Trio with Albert Mangelsdorff, trombone and Han Bennink, drums and percussion. A group with Harry Miller and Louis Moholo continued the trio format though was cut short by Miller's early death. 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. As a trio, and augmented with other musicians who could stand the pace (e.g. 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. 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), and a number of concert recordings with different sized groups, Brötzmann worked with Jost Gebers and started the FMP label. 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. 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. while experiencing freedoms from a different perspective via Stockhausen, Nam June Paik, David Tudor and John Cage. During 1962/63 Brötzmann, Kowald and various drummers played regularly - Mingus, Ornette Coleman, etc. Self-taught on clarinets, he soon moved to saxophones and began playing swing/bebop, before meeting Peter Kowald.
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