Excerpt from the booklet:
The three of them have been playing together since 1970 - the saxophonist EVAN PARKER, the percussionist PAUL LOVENS, and the pianist ALEXANDER VON SCHLIPPENBACH, who gave the ensemble its name, SCHLIPPENBACH TRIO. During the past twenty years the ensemble has altered the vocabulary of its musical language, has worked at it and strengthened it. But, despite all the changes, in one thing the musicians remained the same: The explosive atmosphere, the way in which the very presence of these first-rate musicians gets under our skin, and their phenomenal intercommunication throughout the improvisation process. As ALEXANDER VON SCHLIPPENBACH pointed out: "... Apart from the obligatory festivals, a few tours for the Goethe Institute, and the occasional more notable appearances in concerts run by FMP, it was usually the small jazz clubs with their own distinctive atmosphere reminiscent of the olden days which we chose to frequent, year after year, travelling around by car on jaunts which sometimes could only be described as dare-devil. In proud possession of the new technology and with a lot of secret ammunition we invented ourselves, we produced a veritable turmoil of sound on stages such as these. (…)
As ALEXANDER VON SCHLIPPENBACH pointed out: "... Apart from the obligatory festivals, a few tours for the Goethe Institute, and the occasional more notable appearances in concerts run by FMP, it was usually the small jazz clubs with their own distinctive atmosphere reminiscent of the olden days which we chose to frequent, year after year, travelling around by car on jaunts which sometimes could only be described as dare-devil. In proud possession of the new technology and with a lot of secret ammunition we invented ourselves, we produced a veritable turmoil of sound on stages such as these. (…)
The live performances in front of an audience were of fundamental importance in the development of our musical style. (…)
Right from the start we worked closely with the FREE MUSIC PRODUCTION. This was of course of primary importance in putting the group on the map, and one result is that the various phases of the group´s history are recorded on a number of LP´s and CD´s. Id´like to take the opportunity to once again express my thanks to Jost Gebers. (…)
In contrast to Derek Bailey´s theory that true improvisation is only possible when musicians who don´t know one another play together for the first and last time, it is my opinion that, especially when a group of improvisers do play together over a long period of time, the challenge and requirements can be set higher and higher. It is the vision of a process of crystallisation in which the material concerned can be hardened and refined as required by continual melting down, destillation, purification and polishing." |
Shopping Cart
