ALFRED HARTH+HEINER GOEBBELS FMP LP FREE JAZZ-EISLER

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ALFRED HARTH / HEINER GOEBBELS

 VOM SPRENGEN DES GARTENS LP

FMP SAJ

w/insert, printed inner sleeve

Must have second album of the Goebbels / Harth duo presenting a complex sound experiment in which the 2 artists mix elements from more academic composers with elements of free jazz and new music.

Some info on the release:  Very rare original issue, released in Germany sometime in the 80's and released by the FMP SAJ label (Steve Lacy, Fred Van Hove, Noah Howard Group, Franz de Byl, Radu Malfatti, Barry Guy, etc.). Recorded June 1978 to September 1979, Musikschule, Frankfurt, except B4, recorded 3.3.79 at the "Workshop Freie Musik", Berlin. Characterized as one of the most important jazz records of the 70's by Joachim-Ernst Berendt.

The Duo Goebbels/Harth (1975–1988), combining German composer, music-theatre director and keyboardist Heiner Goebbels and German composer, multi-media artist and saxophonist Alfred Harth became famous for its adaptation of and departure from European composers, especially Hanns Eisler, implemented in a provocatively fresh manner into structured free improvisations and deploying content from areas beyond music. The duo was nicknamed the “Eisler brothers” by music critic W.Liefland. They later also experimented with different genres and sound collages, including electronic devices.

Before the duo started, Heiner Goebbels especially admired the capabilities of Don Cherry, with whom about 15 years later he engaged in his project “Der Mann im Fahrstuhl,” adapted from Heiner Müller. In 1972,Goebbels moved from Landau to Frankfurt/Main to study sociology and complete a work on the German/Austrian composer, Hanns Eisler. Meanwhile, Alfred Harth was finishing his degree as an art teacher at the university in Frankfurt/Main, as well as his conscientious objector’s civilian service in 1973-4, and in 1975 returned after three months of activity playing with the loft jazz scene in New York (together with Jay Clayton, John Fischer and Perry Robinson). Previously, he had formed the groups Just Music (1967–72) and E.M.T. (1972–74). He was then searching new musical companionship in the local Frankfurt music scene and joined a jazz-rock band comprising Goebbels on keyboards and drummer Uwe Schmitt, later in Gestalt et Jive, that shortly after broke apart while leaving some previously booked concerts open. Harth encouraged Goebbels to play one of the remaining concerts, freely improvising in a duo with him. They exchanged information and during a rehearsal Harth played the melody of some Eisler songs on saxophone, which Goebbels accompanied on the piano. They continued improvising freely, thematically deconstructing Eisler’s music just to have it emerge again in a twisted manner. They also extended the range of their instruments.

A first Duo Goebbels/Harth concert took place in 1975 at the Darmstadt main theatre. The duo’s history would have stopped here if they had not been asked to contribute a special event for an opening for an artist friend a few weeks later in Frankfurt/Main. Once again Goebbels and Harth played their fresh repertoire of music at the "Ersatzausstellung" by Vollrad Kutscher, from which photographs found their way to covers of the later LPs and CDs of the duo Goebbels/Harth. Christoph Anders, a later member of the "Sogenanntes Linksradikales Blasorchester" and Cassiber, was in the audience and since then became a friend to the two musicians. The enthusiastic reaction of the audience to their humorous and skilled diversity lead to more concerts for the newly formed duo Goebbels/Harth. Soon they contacted Jost Gebers from FMP, whom Harth knew from his LP production with E.M.T. and arranged a live recording session at the "Flöz" in 1976 in West Berlin, which emerged as the LP "Vier Fäuste für Hanns Eisler" which boosted the duo’s recognition. The same year, Goebbels started formal music studies at the Hochschule für Musik und Darstellende Kunst Frankfurt am Main.

In 1978 the duo played at the Frankfurt Jazzfestival and started to work on a second LP "Vom Sprengen des Gartens" for SAJ/FMP (1979), where they also worked in a manner removed from their European heritage by implementing ideas from German composers, such as Bach and Schumann in their free improvisations.Joachim-Ernst Berendt called this LP "one of the most important German jazz LPs in the 1970s." Around 1978-79, Goebbels and Harth started to compose for the theatre as well as film music for German director Helke Sander.

In 1981, Berendt together with the duo produced the LP, "Zeit wird knapp" by including love poems and ballads from Bertold Brecht, for which they recruited vocalists Dagmar Krause and Ernst Stötzner. The duo then artistically shaped the German New Wave music/Neue Deutsche Welle in their style with their LPs "Indianer Fuer Morgn" and "Frankfurt/Peking" by also using synthesizer, electronic devices, and extended instruments. They made a short adaption of the Revolutionary Pekinese Opera, which in 1996 led Japanese avant-garde musician Otomo Yoshihide to incorporate samples of it into a project with his group Ground Zero.

Goebbels, who studied Sociology and Music in Frankfurt/Main, is a composer notable for his mixture of styles, drawing from sources as varied as classical music, jazz, and rock music. He started playing Eislerian music in a duo with saxophonist Alfred Harth and composing music for theatre, film, and ballet, and has continued to do so, although he has since then broadened his repertoire to concerts and his oeuvre has includes the opera Landschaft mit entfernten Verwandten (Landscape with Distant Relatives, 2002). Goebbels co-founded the avant-rock group Cassiber (1982–1992) with Harth, Chris Cutler and Christoph Anders. They toured extensively across Europe, Asia and North America, and made five albums. In October 1983 Cassiber (minus Anders) joined Duck and Cover, a commission from the Berlin Jazz Festival, for a performance of the "Berlin Programme" in West Berlin, followed by another in February 1984 in East Berlin. The "Berlin Programme" was created and directed by Goebbels. Much of his better known work, however, originated from his close collaboration with the East German writer Heiner Müller, resulting in stage compositions as well as shorter pieces (concerts as well as audio plays) loosely based on Müller texts, such as Verkommenes Ufer (Waste Shore, 1984), Die Befreiung des Prometheus (The Liberation of Prometheus, 1985), or Wolokolamsker Chaussee (Volokolamsk Highway, 1989). Goebbels' attempts to fill the space between theatre and opera left blank due to traditional genre borderline drawing has led to projects such as Schwarz auf Weiss (Black on White, 1996) or Die Wiederholung (The Repetition, 1997). The political nature of his work is often referred to by critics. His interest in Heiner Müller can partly be explained by the political character of Müller's texts, as may be the case with his interest in Bertolt Brecht and Hanns Eisler, works by the latter he used in composing his staged concert Eislermaterial (1998). Goebbels' work is being increasingly acknowledged as he is being played and staged around the world and as his recordings are being published. In 2000 he collaborated with Piano Circus and composer Richard Harris to produce Scutigeras, which received a live BBC radio premiere in the UK. His Surrogate Cities, a work for big orchestra dating from 1994 and featuring texts from Paul Auster, Heiner Müller, and Hugo Hamilton, was nominated for a Grammy in the category Best Classical Contemporary Composition at the 43rd Grammy Awards in 2001.

Condition: Vinyl lies in mint condition, looks super clean and plays perfectly, while cover lies in excellent shape, with very light age wear.

Tracklist

Credits

• Photography – Alfred Harth, Barbara Weise, Dagmar Gebers, Moskito, Uli Weiss
• Photography [Front Cover] – Gerhard Heidorn
• Piano, Organ, Accordion, Tenor Saxophone – Heiner Goebbels
• Producer – Jost Gebers
• Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Clarinet [B, Es] – Alfred Harth
• Written-By – Alfred Harth (tracks: A1a, A2 to A5, B1 to B4), Heiner Goebbels (tracks: A1a, A2 to A5, B1 to B4, B6)

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