Free Music Production / FMP: The Living Music – Concerts
Concert 05.05.17, 8 pm
Free Music Production/ FMP: The Living Music
Friday, May 5, 8 – 11pm (with break) / doors open at 7:30 pm
Saturday, May 6, 7 – 11pm (with break) / doors open at 6:30 pm
"Brötzmann plus …"
Peter Brötzmann – woodwind instruments
with Toshinori Kondo – digital trumpet; Joe McPhee – trumpet and saxophone; Heather Leigh – steel guitar; Marino Pliakas – bass; Alexander von Schlippenbach – piano; Michael Wertmüller – drums; Han Bennink – drums
Friday 15 Euro / Saturday 15 Euro
Combined ticket for both days 25 Euro
Within the framework of the exhibition “Free Music Production / FMP: The Living Music,” Haus der Kunst, in collaboration with Peter Brötzmann, has curated two days in the spirit of the Total Music Meeting and the Workshop Freie Musik. Beginning in 1968, the FMP employed these formats to establish a new form of concert situation in the Academy of the Arts, Quasimodo, and other venues in Berlin. “Beginning in 1970,” recalls Jost Gebers, co-founder and longstanding operator of Free Music Production “we performed a rigorous Free Jazz program in the Workshop on two large podiums in the exhibition hall. Now it is clear that our experiment of bringing this music out of the concert hall and club and into public spaces was correct. The constraints on musicians and audience could be significantly reduced as a result.”
Over the course of three decades Jost Gebers and the other FMP founders such as Peter Brötzmann and Alexander von Schlippenbach continually developed new formats with surprising combinations of musicians, structures, and durations for the Workshop Freie Musik. They explored solo instruments, improvising orchestras, and smaller groups which were continually rearranged to form new combinations which proved both challenging and entertaining for musicians and audience alike.
On may 05 and 06, the FMP’s founding fathers Peter Brötzmann (woodwind instruments) and Alexander von Schlippenbach (piano) will be appearing on the stage in tried and tested and new combinations. Both Brötzmann and Schlippenbach have shaped the history of international improvised music like no others. From the mid-1960s, Brötzmann, as a former assistant to Nam Jun Paik, provided impulses, and with the founding of his own record label Brö, played a decisive role in the preparation and promotion of Free Music Production. As early as 1966 Alexander von Schlippenbach laid the foundation stone for the most important large ensemble of the new Jazz music with his recording Globe Unity. Over the last 50 years the resulting Globe Unity Orchestra has been formed from the Who’s Who of European Jazz. Most recently von Schlieppenbach attracted international attention with his recording of the complete works of Thelonious Monk und Eric Dolphy.
Peter Brötzmann’s oldest serving colleagues, Joe McPhee (trumpet and saxophone) from Chicago and Han Bennink (drums ) from Amsterdam, will also be performing in May. Bennink appeared on the first FMP record European Echoes, and together with Fred Van Hove formed the first important Brötzmann trio. McPhee played with Brötzmann over many years in his Chicago Tentett. He is considered one of the most influential musicians of the American Free Jazz scene and through his intense collaboration with Pauline Oliveiros has been decisively influenced by her concept of Deep Listening. The Swiss Marino Pliakas (bass) and Michael Wertmüller (drums) have been members of the Brötzmann formation Full Blast since 2006. Wertmüller has already appeared at Haus der Kunst, performing his composition for solo drums within the context of Improvise NOW!!! in October 2016. In the combination with Marino Pliakas he forms one of the most dynamic and varied rhythm groups there is. Heather Leigh (steel guitar), who has just been named one of the most remarkable musical discoveries of 2016 by Cameron Jamie in the American Artforum, has played in a duet with Peter Brötzmann for over two years. Toshinori Kondo (electric trumpet) from Tokyo has pursued an international career since the late 1970s, and in Japan itself has achieved superstar status with his band Kondo IMA. He has played with Brötzmann in, among other groupings, the Die Like A Dog Quartet together with William Parker (bass) and Hamid Drake (drums).
Visitors can look forward to two packed, euphoria-inducing evenings and the opportunity to experience spontaneous composition and improvisation as a communicative process.
Remaining tickets available at the box-office
Grand Piano provided by Steinway House Munich
 Jost Gebers in id., For Example. Workshop Freie Musik 1969–1978. Photographs, Documents, Statements, Analyses, Berlin 1978.
Stretch your view
Stretch your view
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