First ever CD reissue of the only band under bassist Peter Kowald's own name, remastered; originally released by FMP in 1972, this is exemplary European Free Jazz from one of the orignal innovators in a quartet with Peter Kowald on tuba, bass, & alphorn, Gunter Christmann and Paul Rutherford on trombones, Peter van der Locht on alto saxophone, and Paul Lovens on drums.
Format: CD Condition: New Released: 2020 Country: USA Packaging: Cardboard Gatefold Recorded at Akademie der Kunste, in Berlin, Germany, on January 19th, 1972, by Eberhard Sengpiel. First released on the German FMP label in 1973 as FMP 0070.
2. Wenn Wir Kehlkopfoperier Te Uns Unterhalten (7:09)
3. Pavement Bolognaise (14:01)
4. Guete Luuni (2:38)
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descriptions, reviews, &c.
"The only album featuring a band under Peter Kowald's name, Peter Kowald Quintet comes from a vital moment in the German bassist's career. A close colleague of Peter Brotzmann's in their formative years, including the saxophonist's debut For Adolphe Sax and the classic Machine Gun, Kowald had by 1972 broadened his circle of collaborators, eventually working with a who's who of global creative music.
Recorded live in Berlin, released on FMP, this date documents a tensile ensemble, with an unusual lineup featuring two trombones - Londoner Paul Rutherford and the German maestro Gunter Christmann - together with the less-well-known Dutch alto saxophonist (and sculptor) Peter van de Locht and brilliant German percussionist Paul Lovens. Kowald adds to the low brass when he turns from double-bass to tuba and alphorn. Spacious and fiery, these four tracks are exemplary European free music led by one of the music's foremost originals - Kowald's rough and ready bass, which was anchoring (and de facto leading) the Globe Unity Orchestra of that period, is echoed in the take-no-prisoners music of the fivesome.
Mastered from original tapes, this first-ever CD release features a facsimile version of the original cover, which featured artwork by ten non-musician friends and unique hand-additions."-Corbett Vs. Dempsey
"The informal freemasonry among European practitioners of the New Music grows daily stronger. Although the Continentals are rarely allowed to play here (thanks to antiquated regulations), British musicians now regularly cross the Channel to appear side-by-side with the best players Europe has to offer.
This album represents just such a collaboration, with trombonist Paul Rutherford taking his place in the band of German multi-instrumentalist, Peter Kowald, which itself contains one Belgian (van de Locht) and one Dutchman (Lovens).
It was recorded at a concert in Berlin, during a Free Music Festival last January, and is a thoroughly excellent example of the kind of music to be heard at such events all over Europe.
The work of the trombone team is what catches the ear first; Rutherford produces his vast array of technical effects, and manages to make music out of them all the time. Near the end of "Pavement Bolognaise", for instance, he plays a long unaccompanied passage made up of long, low growls, ending with a delicious smear, which is quite riveting.Christmann is a rather more straightforward player (though not much) and makes a fine complement. When he, Rutherford, and Kowald (on Alphorn, I think) play together on the short "Guete Luuni", the effect is like a brass band lament from outer space.The leader himself has some impressive moments on bass, particularly on "Platte Talloere", where he plays a long solo made up of strange scratching sounds (caused by pressing the bow down hard on the strings) and is beautifully accompanied by Lovens - who seems to have calmed down a lot since I first heard him a couple of years ago.Van de Locht sounds like a very promising young musician, giving his best work in the ensemble improvisations, when he provides an upper line with a poignant, bitter-sweet flavor.
A quintet, then, which is integrated as well musically as it is nationally; and a LP of informal, enjoyable music, which is highly recommended."-Richard Williams, Melody Maker, June 17, 1972