PETER BRÖTZMANN WORKSHOP FREIE MUSIK'69 INSANELY RARE ORIG '78 GERMAN3LP BOX SET

$

228

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WE CURRENTLY HAVE  NEARLY 500 LISTED ITEMS

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·       VARIOUS ARTISTS - FOR EXAMPLE: WORKSHOP FREIE MUSIK 1969-1978 - ORIGINAL GERMAN PRESSING - INSANELY RARE ORIGINAL 1978 GERMAN-ONLY LIMITED EDITION OF ONLY 600 COPIES FMP RECORDS 3-LP BOX SET WITH A MASSIVE 138-PAGE BOOK -  ORIGINAL FMP  3-LP STEREO BOX SET FMPR-1/2/3

·       ORIGINAL GERMAN PRESSING

·       ORIGINAL BLACK GERMAN FMP LABEL WITH SILVER  PRINT

THIS ITEM COMES FROM THE INCREDIBLE, SINGLE-OWNER COLLECTION WE ACQUIRED A WHILE AGO, IN WHICH ITEMS ORIGINALLY BOUGHT BY THE OWNER FROM THE MID-1970s to THE MID-2010s WERE KEPT STILL SEALED IN A NEAR-LABORATORY, TIME-CAPSULE CONDITIONS AND IN PRACTICALLY CLIMATE- AND HUMIDITY- CONTROLLED ENVIRONMENT.  CONDITIONS OF SOME OF THESE ITEMS RANGE FROM IMPECCABLE TO TRULY UNBELIEVABLE. SOME OF THESE BEAUTIFUL MUSEUM PIECES LOOKED SO PERFECT THAT WE HAD TO REINSPECT AND RE-EXAMINE THEM A FEW TIMES TO MAKE SURE THEY OUR EYES ARE NOT DECEIVING US.

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST GERMAN PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THIN CARDBOARD COVER (EUROPEAN STYLE)

·       CLEAN, WEAR-FREE LABELS

·       FAIRLY THICK VINYL PRESSING On the scale from 1 to 10 (1 being the least thick, and  10 being the thickest), we assess the thickness of the vinyl as 7.

(?PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you'll get.  GUARANTEED!)

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We have already covered the background of the Workshop Freie Musik series in our intro, but I’d like to bring back a few basic details to set the stage, so to speak. WFM started in 1969, the same year FMP released its first album. It ran until 1998, apparently cancelled due to a lack of financial backing. (An aside: I wonder, now that FMP itself has been resurrected for the digital age by Destination: Out if we won’t also soon see the return of both WFM and Total Music Meeting.) FOR EXAMPLE: Workshop Freie Musik 1969-1978 is a previously out-of print, LP-only set documenting 10 years of FMP’s Workshop Freie Musik. The whole set is divided into 3 albums: Nr.1 Soloists, Nr.2 Groups, and Nr.3 Orchestras.

For the collector/completist, it’s a no-brainer, you’re looking at a history of the moment European free jazz came into its own. Then, on the other side of the spectrum, the neophyte, this particular set is also a no-brainer, a one-stop introduction to some of the biggest names in free jazz. And, hey why not, let’s go ahead and make it required listening for everyone in between! What makes this particular set so necessary is the range of both groups and years recorded, in addition to the sheer quality of all performances.

Interestingly, there are no recordings from 1969’s inaugural Workshop. Instead, the earliest recordings come from the 1972 Workshop, well represented by Schlippenbach Trio, Brötzmann/Van Hove/Bennink with Mangelsdorff, Frank Wright Unit, and Willem Breuker Orchestra. As a snapshot of early ’70s free jazz, these feel so comfortable and familiar, imbued with all the rich nostalgia of a past era, and conjuring what so many think of when you say the words “free jazz.” The tempos are frenetic, the horns wailing, the improvisations simultaneously precise and primal.

Most readers of this blog know the classic trio of Alexander von Schlippenbach, Evan Parker, and Paul Lovens. They’re the only artist here with two tracks, and both are fantastic. “With Forks and Hope” begins with all three in staccato mode, Lovens gradually opening up, as Parker teases out longer, piercing lines. “Then, Silence” contrasts Schlippenbach’s bluesy piano intro with a high, frantic solo from Parker. Later, Lovens breaks in with a swinging rhythm, and Schlippenbach settles into the upper octaves for some wild runs that fade abruptly.

The Brötzmann/Van Hove/Bennink trio, another classic group, had just released an album with Mangelsdorff on FMP, Live in Berlin ’71. “Things and Stuff” settles into a comfortable rhythm pretty quickly, but the final few minutes are where the group shines, cooling down for some beautiful interplay. 

For Frank Wright, “Chapter Ten” was the start of his work with Alan Silva, making his recorded debut with Wright’s group. This is the group—Wright, Silva, Bobby Few on piano, and Muhammed Ali on drums—that went on to record Center of the World and Last Polka In Nancy?, so this represents one of the truly historic moments captured on this set.

And that leaves the Willem Breuker Orchestra’s five-part “Biannale,” a fifteen-minute tour de force. Breuker’s great skill at arranging these compressed mash-ups is only matched by his group’s ability to pull them off. There’s Weill, of course, and Bach, but most of all there’s Breuker. Anarchic, hilarious, brilliant Breuker. The recording is a bit creaky, however, and there are cuts between each section that don’t seem quite lined up. Nevertheless, these are pretty minor complaints when you consider the scope of the set.

Only one track comes from 1973, and that’s Globe Unity Orchestra’s “Thin in the upper crust,” credited to Brötzmann. It’s a sweeping that sounds almost as if it’s dissolving into a puddle of acid, as it winds down. (In case there’s any doubt, that’s meant as a compliment.) For a Brötzmann piece, there’s an impressive amount of restraint.

There are three tracks from 1974. First, Steve Lacy’s solo performance of “Bone,” from the Tao suite. Lacy opens on a bright, bouncy statement of the melody, eventually gliding into a languid middle section. Schweizer/Carl Quartet’s “Konrad usw.” opens with a fierce solo from bassist Arjen Gorter. About two minutes in, Schweizer and Heinrich Hock join, creating a tense, tightly wound rhythm under Carl’s urgent sax. The piece builds in intensity for eight straight minutes, before a brisk statement ends the piece. And last from that year, an outrageous take on “Tetterettet” from the ICP Tentet. It’s superbly played, humorous, and swinging, everything ICP compressed into 10 glorious minutes.

The real surprise comes from the 1975 sessions: Vinko Globokar’s Brass Group, a group with 11 trombones, a French horn, and tuba. “La Ronde” opens with a tumble of low brass, featuring some extended techniques, that gradually reveals itself to be a call-and-response. The one other track from 1975 is Paul Rutherford “Berl in zil,” a nicely lyrical trombone solo, with Rutherford accompanying himself on piano.

The bulk of the solo performances come from 1976, beginning with Reichel’s otherworldly “Mariahilf.” Fred Van Hove’s “Daar Spelt de Baiaard Weer” is a brief, sparkling solo on prepared piano. Tristan Honsinger performs the phenomenal “I Didn’t Care,” a cello solo juxtaposed with Honsinger’s wordless vocalizations, and Derek Bailey is captured in fine form on “Improvisation 27376.” Just to settle on Honsinger and Bailey for a moment, their solos are of particular historical importance, capturing the cellist and guitarist just after their early duo albums, and about 2 months before Company 1.

The final two recordings, from 1977, are just fantastic. The first, a trombone solo from Albert Mangelsdorff, “Question at Midnight,” begins in a stately and bold fashion that’s gradually undercut by a variety of extended techniques. Mangelsdorff closes out with a humorous and twisted marching refrain. I don’t know what others will think, but the set’s absolute best moment, for me, comes from Johnny Dyani. “Soweto-Simbabwe-Mississippie-Child-Cry” has Dyani on bass, percussion, and his glorious vocals. His is the final track on the Soloists set, as well as the last track, chronologically speaking. It’s a wonderful moment to go out on: when Dyani ends, the crowd bursts into applause.

All minor complaints aside, it’s impossible not to give this set my highest recommendation. As I mentioned, the range of performers and years captured represent some of the highlights of 1970s European free jazz. As I mentioned above, there’s a bit of a nostalgic glow to this era, but FOR EXAMPLE makes a strong case that this is a high water mark in the development of free jazz globally.

(EXCERPT FROM AN ONLINE REVIEW BY LEE RICE EPSTEIN, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

Track list

Nr.1 Soloists

A1         –Steve Lacy        Bone 7:10

A2         –Paul Rutherford (2) Berl In Zil 5:27

A3         –Hans Reichel   Mariahilf  3:30

A4         –Tristan Honsinger    I Didn´t Care     4:35

B1         –Fred Van Hove          Daar Speelt De Baiaard Weer      4:36

B2         –Derek Bailey    Improvisation 27376  7:13

B3         –Albert Mangelsdorff Question At Midnight          7:20

B4         –Johnny Dyani  Soweto-Simbabwe-Mississippie-Child-Cry    4:46

Nr.2 Groups

C1         –Schlippenbach Trio  With Forks And Hope          7:02

C2         –Schlippenbach Trio  Then,Silence      4:28

C3         –Brötzmann / Van Hove / Bennink plus Mangelsdorff  Things And Stuff        10:34

D1         –Frank Wright Unit   Chapter Ten       14:18

D2         –Schweizer-Carl-Quartet    Konrad Usw.      8:04

Nr.3 Orchestras

E1         –Willem Breuker Orchestra          Biannale 1972   13:17

E2         –Globe Unity Orchestra       Thin In The Upper Crust    6:00

F1          –Vinko Globokar & Brass Group          La Ronde  12:20

F2          –ICP-Tentet       Tetterettet  11:05

Producer – Jost Gebers

Records-Photographs-Documents-Statements-Analyses

All recorded during Workshop Freie Musik at Akademie Der Künste Berlin.

Comes With a thick 138 sided lp sized book with pictures, essays, discography, ...

Limited Edition of 600 copies

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·                               CONDITION:

·                               THE RECORD:

(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS STRONG VG++, JUST A NOTCH BELOW NEAR MINT. A few light abrasions (probably just sleeve scuffs inflicted in storage over the years) ARE VISIBLE, but they appear fairly  insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For most part, the vinyl looks impeccable, without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          The records come in their original, custom, inner sleeves, which are UNIQUE to this album.

(c)           The box set comes with the original 138-page (which is the heaviest part of the box set: the book itself weitghs more than twice the three records combined)

(d)          Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                               THE BOX (THE BOX IS A 1" THICK, FLIMSY SLIPCASE OPEN ON ONE SIDE)

THE SLIPCASE IS ABOUT VERY GOOD+(+)

The following flaws or imperfections are noted on the cover:

-        Slipcase sleeve has some light ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the severity of ring wear as 4

-        Slipcase sleeve  has 3 (three)  small filing code stickers affixed (one on the front side; two smaller on the back) , which may be possible to remove with a little effort (we did not attempt to)

-        Slipcase sleeve has a few tiny wrinkles along the seams

-        Visible shelf wear noted on all three sides/margins

-        Two corners of the slipcase have been busted and were delicately taped by the previous owner.

-        Slipcase sleeve has a few tiny scratch marks on the front side

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  SLIPCASE

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POSTAGE & SHIPPING:

We offer THREE postage rates for both Domestic and International Mail: Media Mail, Priority Mail and Express Mail for domestic, and First Class, Priority International Mail, and Express International Mail for international orders. INTERNATIONAL CUSTOMERS PLEASE NOTE: WE RECOMMEND (BUT DO NOT INSIST) that you select USPS International Priority Mail OR International Express mail when making a payment.

INTERNATIONAL POSTAGE rates vary from one region of  the world to another. For SPECIFIC international and domestic postage rates ?click here. While you can be rest assured that our packaging is careful, sturdy and impact-proof, please note that damage, loss or theft in transit is always possible, and in the case of some countries even PROBABLE. To discuss this potential problem and ensure flawless delivery, please contact us thru eBay BEFORE placing a bid.

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OUR REFUND POLICY :

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FINE (BUT IMPORTANT!) PRINT

(1) The year indicated in the title bar is the year of the original release,  NOT necessarily the year of the actual pressing; for the actual generation of the pressing, please see our item description (top section, text in red letters). (2) Please do NOT bid based on the title bar, subtitle bar or item specifics box alone; instead, please read the entire description and grading before bidding; (3) Absolutely NO order cancellations after the auction closes. ever, under any circumstances. We can ONLY cancel bids before the item closes. (4) We are unable to cancel bids in the final 12 hours of the auction; if you need to do so, please contact eBay for help (5) We are unable to provide matrix-, stamper- or other pressing  information in the final 24 hours of the auction. If you require this information, please contact us well before the final day of the auction. (6) Yes, we DO combine shipments. Please click on "Shipping and Payment" tab on top of the auction page for additional details. (7)  All Paypal payments must be made from confirmed Paypal shipping addresses. NO third party shipping addresses will be honored (8) Absolutely NO partial refunds: if you are unhappy with the merchandise you received, please return it for a full refund, postage included (9). Civilized people can disagree without accusing each other of being indecent or dishonest; if you need proof of this seller's personal integrity, please check our eBay feedback, which speaks for itself  (10) All disagreements and miscommunications can be - and will only be - solved in a civil and mutually respectful manner;  please avoid puerile, offensive, abrasive or menacing language (attempted humor is fine and usually appreciated, although overused-to-death sarcasms can be really, really tedious. (11) This seller will accommodate all reasonable requests and is generally a flexible and agreeable person (12) Our love & appreciation for your trust, loyalty and business, always and forever; Thank You & Good Night!

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