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New Old Luten Quintet: Krawall! (Euphorium)

One year after the 2013 recording by New Old Luten Quintet, Tumult!, the exceptional free jazz grouping of Ernst-Ludwig Petrowsky on sax & clarinet, Elan Pauer on grand piano & percussion, John Edwards & Robert Landfermann on double bass and Christian Lillinger on drums, took the stage at naTo, in Leipzig to record this energetic and strongly percussive followup.
 

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Label: Euphorium
Catalog ID: EUPH 052
Squidco Product Code: 30733

Format: CD
Condition: New
Released: 2016
Country: Germany
Packaging: Jewel Case
Recorded at naTo, in Leipzig, Germany, on December 7th, 2014, by Marco Birkner.


Personnel:

Ernst-Ludwig Petrowsky-alto saxophone, clarinet

Elan Pauer-grand piano, percussion, little instruments

John Edwards-double bass

Robert Landfermann-double bass

Christian Lillinger-drums, cymbals, percussion

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Artist Biographies:

"Ernst-Ludwig Petrowsky (born December 10, 1933 in Güstrow, often called Luten Petrowsky) is a German jazz musician. In addition to his work as a saxophonist, clarinetist and flute, he is also active as a composer and author.

The autodidact Petrovsky is considered one of the founding fathers of jazz in the GDR. Already since the mid-1950s he played in various formations; later he became a founding member of important for East German jazz Manfred Ludwig Sextett and played with, among others, Joachim Kühn, Dorothy Ellison and Ruth Hohmann. In 1971 he founded the jazz rock band SOK with Ulrich Gumpert and in 1973 was one of the founders of the free jazz formation Synopsis. Since 1972 he has worked together with bassist Klaus Koch in various formations.

Luten Petrowsky played in the various Gumpert Workshop Bands and from 1984 on the Synopsis successor, the Zentralquartett. He also interpreted compositions by Hans Rempel, Paul-Heinz Dittrich, Georg Katzer and Friedrich Schenker, with whom he also improvised. With Harry Miller, Heinz Becker, Joe Sachse and Tony Oxley he appeared in 1981 as part of the Jazzwerkstatt Peitz (CD: An Afternoon in Peitz). He became particularly popular since 1983 through his joint concerts with the singer Uschi Brüning.

Petrovsky played regularly with the George Gruntz Concert Jazz Band in Europe and the United States. He was a member of the European Jazz Ensemble, Günter Lenz Springtime and the Tony Oxley Celebration Orchestra. He has also been active in the Globe Unity Orchestra for many years. Since 2006 he plays with Christian Lillinger and Oliver Schwerdt aka Elan Pauer in the New Old Luten Trio. On the occasion of his 80th birthday, the JazzFest Berlin Petrovsky honored with a Jubilee evening with three of his important groups, the Central Quartet, the existing since 1992 group reputation of home (with Thomas Borgmann, Christoph Winckel and Willi Keller) and the ensemble Ornette et cetera (with Brüning, Jeanfrançois Prins, Michael Griener)

Petrowsky received the 1982 Art Prize of the GDR and was the winner of the National Prize of the GDR. In 1997 he was awarded the German Jazz Prize. Petrovsky is one of the most important German musicians of modern jazz. He was involved between 1963 and 2008 in 116 recordings of albums and other phonograms.

Ernst-Ludwig Petrowsky is married to the singer Uschi Brüning."

-Wikipedia (Translated by Google) (https://de.wikipedia.org/wiki/Ernst-Ludwig_Petrowsky)
11/23/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Elan Pauer, real name Oliver Schwerdt (born 13 November 1979 in Eisenach) is a German musicologist and musician ( piano, percussion) in the field of new improvisational music.

Schwerd visited the school in Eisenach until he graduated from high school and received classical piano lessons at the local music school there. He performed his military service as a piano accompanist in the Bundeswehr's training music corps. His studies of music and cultural studies as well as the history of art at the University of Leipzig, which he received in 1999, culminated in a master's thesis on Georg Simmel and Dadaism, submitted to Klaus Christian Köhnke. In 2012, he promoted Sebastian Klotz at the Institute for Musicology of the University of Leipzig, for which he was also active as an instructor. At the center of his dissertation are the musical strategies of central actors in the scene of free improvised music following the success of free jazz and their spatial theories. He taught at the Museum für Musikinstrumente of the University of Leipzig and at the Bauhaus Dessau Foundation.

Out of his work in musicology, Schwerdt identified the challenge faced by the current museum practice as opposed to the "new combination of the drumming combination" , as it became "in European improvisational music" of the 20th century. He is committed to safeguarding the "first-generation of European free jazz and contemporary improvised music", which is "an endangered, historically so delicate, aesthetically highly fascinating and epistemologically valuable complex of objects". [8th]

As author of a music-critical article Schwerdt wrote among other things for the Neue Musikzeitung, jazzthetik and the jazz newspaper. He also compiled accompanying texts from Günter Sommer / Wadada Leo Smith as well as Alexander von Schlippenbach / Evan Parker / Paul Lovens and Urs Leimgruber. In 2003, he founded Euphorium Productions.

Since 1999, Schwerdt has been the artistic director of the EUPHORIUM_freakestra, a project group between contemporary improvisation, jazz, new music and theater, with Günter Sommer, Friedrich Schenker, Rudi Mahall, Paul Rutherford, Ernst Ludwig Petrovsky, Frank Möbus, Wadada Leo Smith, Axel Dörner, Barre Phillips, Alexander von Schlippenbach, Evan Parker, Paul Lovens, Sven-Åke Johansson, Ulrich Gumpert, Manfred Hering, Dietmar Diesner, Roger Turner and others. At the 33rd Leipziger Jazztagen 2009 he performed with the Transatlantic Freedom Suite Tentets project at the Opernhaus Leipzig. From the project set, the quartet ember developed with Urs Leimgruber, Alexander Schubert and Christian Lillinger. He also works with Lillinger and Petrowsky in the New Old Lute Trio. With Schubert and Friedrich Kettlitz, Schwerdt operates the electrified noise ensemble trnn.

For his performance as a pianist and ensemble conductor in 2006, Schwerdt received the Leipziger Jazz-Nachwuchsstipendium from the Marion Ermer Foundation. Critics Ken Waxman (Jazzword) and Rigobert Dittmann (Bad Alchemy) listen to remixes by Oscar Peterson, Bill Evans, Cecil Taylor and Alexander von Schlippenbach in Schwerdt's pianist."

-Wikipedia (Translated by Google) (https://de.wikipedia.org/wiki/Oliver_Schwerdt)
11/23/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"After taking up the bass, around 1987, John Edwards co-formed The Pointy Birds who went on to win awards for their music for The Cholmondeleys and Featherstonehaughs dance troupes. The group appeared at festivals in Glasgow, Edinburgh, Moers, Leverkusen, Copenhagen. Around 1990, Edwards played his first gigs with London improvisers such as Roger Turner, Lol Coxhill, Maggie Nicols, Phil Minton.

Between 1990 and 1995 Edwards was a member of three touring groups simultaneously: B-Shops For The Poor, The Honkies and GOD. During this period he also became an increasingly regular player on the London improvised music scene and performed his first solo gigs; he composed and performed music theatre with the bass and cello duo The Great Explorers, street-busked a lot and appeared at many more festivals in Germany, Estonia, France, Italy, Czech, etc.

Since 1995 John Edwards has become a "mainstay" of the London scene, playing with just about everybody, an activity that has seen him clocking up between 150 and 200 gigs a year. He has become regular player with Evan Parker, in many groupings, and with Tony Bevan, Veryan Weston, and Elton Dean, often in collaboration with Mark Sanders on percussion. He has become a more frequent player on the European (and festival) scene, appearing at Taktlos, Ulrichsburg, Nickelsdorf, Budapest, New Zealand and in the USA. He continues to work on solo performances."

-EFI (http://www.efi.group.shef.ac.uk/musician/medwards.html)
11/23/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Robert Landfermann Doublebass born 1982 in Bonn.

Studies:

1998 - 2002 Doublebass lessons in Bonn with Gunnar Plümer

2002 - 2007 Jazz-Doublebass in Cologne "Musikhochschule für Musik und Tanz"

2007 - 2009 special degree "Konzertexamen" with Prof Dieter Manderscheid

since 2011 teaching Jazz Doublebass at the Folkwang university of arts in Essenworked with:

Joachim Kühn, John Scofield, Lee Konitz, Yo-Yo Ma, Django Bates, Tomasz Stanko, Barre Philips, John Taylor, Lenine, Dave Liebman, Simon Nabatov, Chris Potter, John Hollenbecks 'Claudia Quintet', Hilmar Jensen, Urs Leimgruber, Jim Black, Peter Evans, Manfred Schoof, Tobias Delius, Achim Kaufmann, Julian Argueilles, Frank Gratkowski, Thomas Lehn, Mederic Collignon, Gerd Dudek, Stephane Guillaume, Charlie Mariano, Kinan Azmeh, Markus Stockhausen, Cino Palagliesu, Rudi Mahall, Tetsu Saitoh, Claudio Puntin, Steffen Schorn, Axel Dörner, Wolfgang Haffner, Ian Thomas, Ben Perowski, Danny Gottlieb, NDR BigBand, Rhani Krija...Concerts:

In about 50 Countries on 5 Continents:

China, Indonesia, Russia, USA, Canada, Australia, South Corea, Panama, Costa Rica, Nicaragua, Honduras, Guatemala, Dominicanian Republic, Salvador, Brasil, Bolivia, Equador, Columbia, Tunesia, Maroc, Burkina Faso, Ghana, Mali, Togo, Cote d'Ivoire, Benin, Cape Verde, Belgium, Holland, Poland, Danmark, Luxemburg, France, England, Ireland, Scotland, Spain, Portugal, Italy, Greece, Zyprus, Kasachstan, Kirgistan, Bulgaria, Albania, Rumania, Slovenia, Bulgaria, Hungary, Lithuania, Estonia, Switzerland, Austria, Sweden, Norway...

In famous Concerthalls:

Sydney Opera, Elbphilharmonie Hamburg, Mozartsaal Wien, Cité de la musique Paris, Megaron Musikis Athen, L'auditori Barcelona, Symphony Hall Birmingham, Theatre Marni Brussels, "stone" NYC, Beethovenhaus Bonn, Bozar Brussels, Gewandhaus Leipzig, Brucknerhaus Linz, Concertgebouw Amsterdam, Laeiszhalle Hamburg, Festspielhaus Baden-Baden, Philharmony Essen, Philharmony Cologne, Philharmony Luxemburg, Filharmonia Krakowska, Krzysztof Penderecki Centre for Music, NOSPR Concert Hall Katowice, Konserthuset Stockholm...

On national and international Festivals:

Vancouver Jazzfestival, North-Sea-festival, JazzNow Sydney, Kopenhagen Jazzfestival, Jazzfest Berlin, Casa del Jazz Rom, London Jazzfestival, Glasgow Jazzfestival, JazzNoJazz Zürich, 12points! 2010 Stavanger Norway, 12points! 2008 Dublin, Moers Jazzfestival, Jazz.pt Lissabon, Duketown Festival s'Hertogenbosch, Coimbra Jazzfestival, The Hague Den Haag, Portalegre Jazzfestival, Salzau Jazz-Baltica, Jazzfestival Burghausen, INNtöne, Leverkusener Jazztage, Elbjazz, Hamburger Jazztage, Münster Jazzfestival, Jazzrallye Düsseldorf, Traumzeit Festival, Gnaua festival Essauira...Awards:

SWR-Jazzpreis 2014

NRW-Förderpreis 2013

WDR-Jazzpreis 2009

New German Jazzaward 2009 with Frederik Köster Quartett

Horst und Gretl-Will Stipendium - Culture-Price of the City of Cologne 2009

German Member of the European Jazz Orchestra connected to the EBU in 2008"

-Robert Landfermann Website (http://robertlandfermann.com/biography.html)
11/23/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Christian Lillinger (born April 21, 1984 in Lübben ) is a drummer, composer and percussionist of modern creative style and new improvisational music.

Lillinger studied at the University of Music Carl Maria von Weber Dresden at Günter Sommer from 2000 to 2004. Between 2001 and 2003 he was a member of the Bundesjugendjazzorchester.

Lillinger plays in the trio Gropper | Graupe | Lillinger, until 2015 under the name Hyperactive Kid, with the saxophonist Philipp Gropper and the guitarist Ronny Graupe, where he is largely confined to the conventional drum kit. In 2008, he composed his first band Christian Lillingers Grund, whose first two released albums were released at Clean Feed Records at the end of 2009 and 2013. In addition Lillinger works as a sideman with well-known musicians such as Rolf Kühn, Joachim Kühn, Miroslav Vitouš, Beat Furrer, Rudi Mahall, John Schröder, Barre Phillips, Ernst-Ludwig Petrowsky, Wadada Leo Smith, Frank Gratkowski, Simon Nabatov, Tobias Delius and Axel Dörner, Thomas Lehn, Michael Wollny, Louis Scyvis, Bruno Chevillon, David Liebman, Edmund Lehmugruber, Theo Jörgensmann, John Edwards, Greg Cohen, William Parker, Joe Lovano and Tony Malaby. Since 2004 he has been working continuously in the EUPHORIUM, the international ensemble of contemporary performing arts and music around the Leipzig-based Oliver Schwerdt, especially in the trio with Schwerdt alias Elan Pauer and Ernst-Ludwig Petrowsky. Since 2009, Lillinger has also been working in the Klaviertrio Grünen with Achim Kaufmann and Robert Landfermann, who presented a first album on the Portuguese label Clean Feed Records in 2010. Since 2010, Lillinger has also worked in the trio Dell Lillinger Westergaard, which also performed with John Tchicai. In 2011 he founded the Trio Starlight with Petter Eldh and Wanja Slavin, who moved his debut CD 2013 to the Swiss label Unit Records. With Eldh and Slavin he also founded the Quartet Amok Amor with the American trumpeter Peter Evans, who released his first album of the same name in 2015.

Lillinger is also a member of the following groups: Rolf Kühn Unit, Henrik Walsdorff Trio, Pascal Niggenkempervision 7, Ronny Graupes Spoom, Schmittmenge Meier, Marc Schmolling Trio, Wanja Slavin Quintett, Carl Ludwig Hübschs Drift, Hübschacht, Uwe Steinmetz Stream Ensemble, The upper class, Ember, Gerhard Gschlößl's group of four, Gerhard Gschlößls G9, KUU! And also plays with Joachim Kühn in trio.

From 2012 to 2013, Christian Lillinger was a member of the board of the Union of German Jazzmusicians."

-Wikipedia (translated by Google) (https://de.wikipedia.org/wiki/Christian_Lillinger)
11/23/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1. Lutens Letzter Krawall! 29:54
sample the album:








descriptions, reviews, &c.

"Krawall! jumped out from the effort to re on enact the success of the quintet happened in 2013. Despite the same cast, the same the venue, the same instruments, the same recording and the same sound mixing ingenieur the repetition for sure would became a variation.

In fact the quintet of the year 2014 took place on a different condition. Right after the musical set the theatrical scene of the EUPHORIUM's Second Stage Pub was expected. Maybe in effect of the dramaturgy of the entire program of that evening the second vast New Old Luten Quintet lasts one third less than the first finally called Tumult! Particularly Krawall! evolved without recourse to the warming on up in the more fundamental trio interaction. Maybe that's why the music of the quintet interplay comes up with such a hacking energy. Krawall! is less sostenuto but spotty, crumbly, squashed, pressed, a battle. It seems to be the most percussive one of the three great quintets.

Petrowsky again produces his gliding screams. He is a master to transform a melody into a scream and the other way round. You can listen to his unmatched style of oscillating expressionistic kinds of crying and whistled chantings. Sometimes the quintet sounds like everybody aesthetically falling one upon the other. Especially Oliver Schwerdts capacity to assail is strikingly. He and the pretended senior love to tussle. One can say with Elan Pauer Oliver Schwerdt creates a quintet work to be spelled allusively The Storming Of The Old Luten Guy.

Petrowsky's devotion to sustain very high pitches up to unusal durations seems to allure Pauer blasting out all the cluster harmonies he commands. After Luten reaches at 13'02'' a cis'''' briefly around 16' his fis''' lasts for 35 seconds. At the end above all that turmoil he let rise a melodic phrase that swings along it's nine tones sequenced for two times on a lower pitch and that is followed up by a consequent that he variegates each time on a lower pitch for six times prepairing the great relaxation after a final excitement of that multi on figured body. " on Euphorium Records



"In my review of Tumult!, the New Old Luten Quintet's previous release, I wrote that the improvisation "Lutens Letzter Tumult!" (Luten's Last Tumult!), suggested we might not hear East German free jazz legend Ernst Ludwig "Luten" Petrowsky in such energetic surroundings again, but I hoped we would. My wish has come true: Krawall! is another excellent recording.

The band remains Petrowsky (saxophone, clarinets), Elan Pauer a.k.a. Oliver Schwerdt (piano, little instruments), Christian Lillinger (drums) and John Edwards and Robert Landfermann (basses). As before, their music contains multiplicities, if not exactly oppositions: East German improv; the more boistorous West European tradition, itself rooted in US jazz (Petrowsky's lush Charlie Parker-influenced phrases); and more fragile instant composing - Lillinger and Landfermann studied at conservatories in Dresden and Cologne.

Krawall!, German for "riot" or "ruckus", implies a certain aggression and yearning for destruction (as Günter "Baby" Sommer puts it in his contribution to the wonderful liner notes), as in the early days of European free jazz when Peter Kowald coined the phrase "Kaputtspielphase" (blowing to pieces) when the music was often associated with a destructive iconoclasm. But Krawall! is much more than displaying current individual moods, it's no barometer of an imaginary emotional state of mind. The word has pejorative overtones, but in this context it suggests expressive power. It's not all energy playing, however: the Quintet creates a carefully balanced improvisation.

The album consists of a single 30-minute piece - "Letzter Krawall" - divided into three parts, distinguished by contrasting dynamics and instrumental breaks. After hectic and intense passages, characterized by Petrowsky's harshly overblown melodies and Schwerdt's Tayloresque runs and chords, they often drop out to give the music time to breathe. The two basses and the drums maintain a frenetic velocity, it's as if carried along in one another's wakes. At one point, the piano hammers a single note repeatedly, like a manic stopwatch, while Lillinger rattles and fizzles and Petrowsky throws in short bebop licks. After ten minutes things become gloomier, verging on dissolution, but the basses pick up the loose ends and rethread them. Schwerdt plays inside the piano and Lillinger uses all kinds of assorted percussion, augmenting the spooky atmosphere. A tuned down string on one of the basses sets your teeth on edge. The last five minutes revert to the tumultuous beginning, with the whole band going wild again. Finally, the music comes to an abrupt end with two notes on harmonica.

For Luten Petrowsky free jazz is an encouragement to combine Parker with Ayler, Coleman Hawkins with Ornette. He claims that avoiding conventions means ignoring history, being thrown back on yourself instead of creating something new on the shoulders of giants. For him, free improvisation is a kind of truthfulness. He says in the liner notes that he was very pleased with the gig as the quintet had performed as a real unit, and he was almost "high" when he drove home.

And more good news: there's nothing "last" about this recording either - the band plans to release another album called Rabatz! a word with similar connotations to "Krawall". Can't wait to listen.

Krawall! was recorded at naTo Leipzig on December 7th, 2014, three days before Luten Petrowsky's 81st birthday."-Martin Schray, The Free Jazz Collective


Get additional information at The Free Jazz Collective
Related Categories of Interest:


Improvised Music
Jazz
Free Improvisation
European Improvisation, Composition and Experimental Forms
London & UK Improv & Related Scenes
Quintet Recordings
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Schnell (Borel / Borghini / Lillinger)
Live At Sowieso
(Clean Feed)
McPhee, Joe / John Edwards / Klaus Kugel
Journey to Parazzar
(Not Two)
Edwards, John / Olie Brice
At Iklectik
(Confront)

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