Excerpts were [previously] released on the 4-LP set Jazzfestival Balver Höhle Ausschnitte Vom New Jazz Programm 1974 & 75.
Thanks to Udo Sawinski for help and forwarding stuff from his collection.
Special thanks to Lutz Klüter for rights and tapes.
Box includes a 32-page booklet with press clippings and reviews originally published in local newspapers.
Some artists mentioned in the articles, on posters and flyers are not included in thís set because they didn't perform or the tapes didn't survive.
On track 4-1 Dieter Scherf plays alto saxophone.
The musicians of the Polish Jazz Summit differ from those listed in the booklet. According to the announcer on the recording, Adam Makowicz couldn't make it to the festival, Cees See replaces Janusz Stefanski, and Tomasz Szukalski and John Lee ("from America") were added to the group. No pianist is announced but there clearly is a piano (though not electric). Best guess is that Zbigniew Namyslowski plays the piano himself.
Echoes from the Depths: The New Jazz Festival Balver Höhle of 1974 and 1975
Introduction
In the annals of European jazz history, few events capture the spirit of innovation and rebellion quite like the New Jazz Festival Balver Höhle. Held in the cavernous depths of the Balve Cave (Balver Höhle) in Germany's Sauerland region, this festival emerged as a beacon for avant-garde and free jazz during the mid-1970s. The years 1974 and 1975 marked its inaugural editions, showcasing a eclectic array of performers from across Europe and beyond, all unified by a commitment to pushing the boundaries of jazz beyond traditional structures. The cave itself, a natural amphitheater with prehistoric roots, provided an acoustically unique—and occasionally challenging—backdrop, where echoes amplified improvisations into ethereal symphonies or, humorously, turned solos into unintended duets with the stone walls (one might imagine the bats overhead critiquing the vibrato as overly "chiropteran").
This article explores the festival's origins, its organizers, the lineups and performances of those pivotal years, and its lasting legacy. Drawing on archival recordings, contemporary reviews, and historical context, it situates the event within the broader socio-cultural ferment of 1970s Germany, where jazz became a vehicle for generational defiance. While scholarly in tone, we intersperse humorous notes to reflect the festival's playful, anarchic energy—after all, what better way to honor free jazz than with a dash of irreverence?
Background on the Organizers and the German Jazz Scene
The New Jazz Festival Balver Höhle was the brainchild of Karlheinz Klüter, a pivotal figure in Germany's post-war jazz landscape. Often described as a "one-man show," Klüter handled everything from booking artists to serving drinks at the bar, operating without public funding in a testament to grassroots tenacity. His involvement in earlier festivals, such as the Burg Altena event organized by Heinz Bonsack, equipped him with the networks and vision to launch Balver Höhle in 1974 at remarkably short notice. Klüter's approach emphasized inclusivity, inviting musicians from behind the Iron Curtain and blending European free jazz with American influences, continuing themes from Altena.
The festival's genesis must be understood against the backdrop of 1970s German jazz, a "golden age" of free improvisation that mirrored societal upheavals. Young Germans, rejecting the conservative values of their parents' generation—tainted by the Nazi era—embraced jazz as a form of cultural rebellion. Festivals like Moers (organized by Burkhard Hennen) and Wuppertal became hubs for this movement, featuring luminaries such as Peter Brötzmann and Alexander von Schlippenbach. Balver Höhle fit neatly into this ecosystem, its cave venue symbolizing a literal underground resistance. Humorously, one could quip that Klüter's choice of location was a sly nod to Plato's allegory—musicians emerging from the shadows to enlighten the masses, though the damp air likely enlightened more than a few instruments about rust.
The broader Festspiele Balver Höhle, encompassing theater and music since the 1980s, traces its roots to earlier cultural initiatives in the cave, including jazz and blues events from 1970 onward. However, the "New Jazz" focus in 1974-1975 was distinctly Klüter's imprint, prioritizing experimental forms over mainstream appeal. By 1984, the festival had shifted toward more accessible genres, but its early years remain a high-water mark for avant-garde expression.
The 1974 Edition: A Cavernous Debut
The inaugural New Jazz Festival Balver Höhle unfolded over a weekend in late July 1974, drawing enthusiastic crowds that filled the cave with the clamor of a rock concert—cheers echoing like thunderclaps. Friday featured traditional "Hot Jazz," but the core "New Jazz" programming commenced on Saturday and Sunday, spanning genres from jazz-rock to unbridled free improvisation. The lineup was a who's who of European and American innovators, reflecting Klüter's internationalist ethos.
Saturday kicked off with the Contact Trio (Evert Brettschneider on electric guitar, Alois Kott on double bass, Michael Jüllich on drums), whose fluid, ensemble-driven jazz-rock set clocked in at over 26 minutes of seamless improvisation. They were followed by the explosive trio of Peter Brötzmann (saxophones and clarinet), Fred van Hove (piano), and Han Bennink (drums), whose four improvisations totaled nearly 45 minutes of raw energy. Brötzmann's shrieking clarinet and Bennink's parodic military marches injected humor and chaos, as if the group were waging a mock battle against tonal convention—perhaps the cave's acoustics added an unwitting fourth member, "Echo the Stalactite."
Jasper van't Hof's Pork Pie, a multinational ensemble featuring Charlie Mariano (reeds and Nadaswaram), Philip Catherine (guitar), John Lee (bass), and Aldo Romano (drums), delivered two extended pieces blending fusion and ethnic influences, with Mariano's Nadaswaram evoking Eastern mysticism amid the Western cave. The British trio SOS (John Surman, Mike Osborne, Alan Skidmore on saxophones) innovated with EMS synthesizers, looping sounds in four improvisations that drew from Renaissance polyphony and even included a Bach encore— a scholarly fusion of old and new, though one wonders if the cave's humidity warped the electronics into accidental dub effects.
Sunday opened with the Dieter Scherf Trio (Scherf on saxophone, Jacek Bednarek on bass, Bulent Ates on drums), offering a modulated, Coltrane-inflected energy in a 28-minute improvisation. The Franz Koglmann-Steve Lacy Quintet (with Lacy on soprano saxophone, Koglmann on trumpet, Toni Michlmayr on bass, Muhammad Malli on drums/percussion, and Gerd Geier on electronics) performed pieces like "Flaps" and "Der Vogel Opium," blending cerebral composition with electronic experimentation.
Other highlights included the Gary Burton Quintet (featuring dual guitars by Mick Goodrick and Pat Metheny), opening with "Phase Dance"; the Jazzcrew Stuttgart septet with its varied post-bop; Misha Mengelberg and Han Bennink's ICP "Suite," mixing ragtime and free jazz; and the Polish Jazz Summit (Tomasz Stanko on trumpet, Zbigniew Namyslowski on saxophone/cello, Zbigniew Seifert on violin, Adam Makowicz on piano, Janusz Stefanski on drums), whose set grappled with amplification issues but shone in mournful dirges. The festival's success was immediate, with crowds reveling in the subterranean vibe—though, humorously, the lack of natural light might have left some attendees pondering if they'd emerged into a new era or just forgotten their sunglasses.
The 1975 Edition: Triumph Amid Turmoil
Building on 1974's momentum, the 1975 festival (May 31-June 1) faced logistical hurdles, including contractual disputes that excluded German musicians and a last-minute cancellation by the Howard Johnson Tuba Ensemble due to unpaid flight costs. This shifted focus to Eastern and Northern European acts, underscoring Klüter's commitment to cross-cultural exchange despite challenges.
The lineup emphasized duos and smaller ensembles. Czechoslovakia's System Tandem (Jiri Stivin on reeds/woodwinds, Rudolf Dasek on guitar) performed seven improvisations blending folk, jazz, and rock. The Gustav Brom Big Band delivered a "Suite for Gustav Brom," oscillating between big-band swing and free jazz anarchy. Emil Viklický's piano trio offered a short, Bill Evans-inspired set, hampered by the festival's out-of-tune piano— a humorous reminder that even caves can't escape entropy.
The Krzysztof Zgraja-Barre Phillips duo (flute and double bass) crafted two half-hour improvisations with dynamic shifts, while Sweden's Jan Wallgren Orkester (quintet with Wallgren on piano, Tommy Koverhult on saxophones/flute, Hakan Nyqvist on flugelhorn, Ivar Lindell on bass, Ivan Oscarsson on drums) explored post-bop in pieces like "Love Chant." Finland's Eero Koivistonen Quartet closed with sparse Euro-jazz, their 20-minute set evoking dreamlike minimalism.
Anecdotes from 1975 highlight the festival's improvisational spirit: Amplification woes turned sets into acoustic adventures, and the enthusiastic, raucous audience amplified the cave's natural reverb into a collective roar. One can't help but chuckle at the irony— a free jazz festival plagued by "contractual chains," leaving the tuba ensemble grounded while the music soared underground.
Legacy and Reflections
The New Jazz Festival Balver Höhle's 1974-1975 editions are preserved in an 11-CD box set released in 2016 by B.Free/Be! Jazz, capturing over 13 hours of live recordings. Reviews praise its breadth, from Pork Pie's fusion to Brötzmann's ferocity, though some note the variable sound quality due to the cave's acoustics. The festival influenced subsequent events, embodying the era's experimental ethos.
In conclusion, under Klüter's stewardship, Balver Höhle transcended its stony confines to become a crucible for jazz innovation. Its humorous quirks—the echoing cave, the piano's detuning, the cancellations—only underscore its humanity. As echoes fade, the music endures, reminding us that true art often thrives in the shadows.
Overview of the Box Set
The "New Jazz Festival Balver Höhle (New Jazz 1974 & 1975)" is an 11-CD box set released in 2016 by B. Free (catalog number 6233/43), capturing live recordings from the inaugural and second editions of the New Jazz Festival held in the resonant acoustics of Balve Cave in Germany's Sauerland region. Organized by Karlheinz Klüter at short notice in 1974, the festival featured a mix of European and American artists across "New Jazz" styles, including free improvisation, fusion, modal jazz, and big band elements. Each festival ran Friday to Sunday, with Friday dedicated to traditional "Hot Jazz" (omitted here) and the weekends to innovative "New Jazz." The recordings, made by Cologne's WDR radio, total over 13 hours and include a 32-page booklet with photos, posters, flyers, and newspaper clippings (some in English). The set presents performances chronologically by day, though not always in original order, with many tracks simply titled "Improvisation" due to unspecified or unknown names. Sound quality is vivid and high, capturing the cave's natural reverb without excess echo, and the enthusiastic audiences—often sounding like rock crowds—reflect the era's youth-driven interest in alternative music in West Germany.
Critically, this collection serves as a valuable snapshot of the vibrant 1970s European jazz scene, blending high-energy free jazz with more structured fusion and post-bop. Reviewers praise its historical significance, though note some quirks like track mislabeling (e.g., CD5's tracks 6-8 are actually on CD6) and the 1975 edition's relative weakness due to cancellations and contractual issues excluding German acts. Overall, it's rated highly for its breadth and archival value, with standout moments in collective improvisation and individual virtuosity, though some sets lose visual context in audio form.
General Review of the "New Jazz Festival Balver Höhle 1974 & 1975" 11-CD Box Set
The "New Jazz Festival Balver Höhle (New Jazz 1974 & 1975)" 11-CD box set, released in 2016 by B. Free, is an ambitious and historically significant collection capturing the inaugural and second editions of the New Jazz Festival held in the acoustically unique Balve Cave in Germany’s Sauerland region. Spanning over 13 hours of live recordings from 1974 and 1975, this set showcases a vibrant cross-section of European and American jazz artists pushing boundaries in free improvisation, fusion, modal jazz, and big band styles. Recorded by Cologne’s WDR radio, the audio quality is consistently high, leveraging the cave’s natural reverb to create a vivid, immersive listening experience without excessive echo. The set is accompanied by a 32-page booklet featuring photos, posters, flyers, and newspaper clippings (some in English), adding valuable context to the festival’s cultural moment.
Strengths
The box set excels as a time capsule of the 1970s European jazz scene, a period marked by bold experimentation and cross-cultural collaboration. The 1974 recordings, in particular, are a high point, featuring standout performances from groups like Jasper van’t Hof’s Pork Pie, with its eclectic fusion and Charlie Mariano’s versatile reeds, and the British trio SOS (Surman-Osborne-Skidmore), whose innovative use of electronics and polyphonic reeds creates a rich, layered sound. The Peter Brötzmann Trio’s raw, chaotic free jazz and the Franz Koglmann Quintet with Steve Lacy’s cerebral compositions further highlight the diversity of styles, from high-energy improvisation to melodic sophistication. The 1974 sets benefit from a strong lineup and the festival’s fresh, enthusiastic energy, reflected in the rock-concert-like audience responses that capture the era’s youth-driven embrace of avant-garde music in West Germany.
The 1975 recordings, while less consistent due to cancellations and contractual issues limiting German acts, still offer gems, particularly from Eastern European groups like the Gustav Brom Big Band and the Jiri Stivin-Rudolf Dasek duo, which blend jazz with folk influences. The set’s chronological organization by festival day provides a clear narrative arc, and the sound quality enhances the listening experience, making even sprawling improvisations feel immediate and engaging. For jazz historians and enthusiasts of free jazz and fusion, the collection is a treasure trove, documenting lesser-known groups like the Contact Trio and Jazzcrew Stuttgart alongside established names.
Weaknesses
Despite its strengths, the box set has some drawbacks. The 1975 edition feels weaker overall, with some performances, like the Polish Jazz Summit, suffering from technical issues (e.g., an out-of-tune piano) or less cohesive interplay. The sheer volume of material—over 13 hours—can be daunting, and the frequent use of generic titles like “Improvisation” (due to unspecified or unknown track names) makes navigation challenging, especially for casual listeners. Minor production errors, such as track mislabeling (e.g., CD5’s tracks 6-8 appearing on CD6), add confusion. Some sets, like the Misha Mengelberg-Han Bennink duo, lose impact without the visual context of their theatrical live performances, as their anarchic humor and physicality don’t fully translate to audio. Additionally, the set’s focus on extended improvisations may overwhelm listeners unaccustomed to the free jazz idiom, and the 1975 discs, particularly CD11, feel like a less climactic close due to their brevity and uneven quality.
Overall Assessment
This box set is a remarkable archival achievement, offering a deep dive into a pivotal moment in European jazz history. Its strengths lie in its comprehensive scope, excellent sound quality, and the inclusion of both iconic and obscure artists, making it essential for collectors and scholars. Highlights like Pork Pie’s fusion mastery and SOS’s innovative textures justify its hefty runtime, though the 1975 recordings don’t always match 1974’s intensity. Minor flaws like track mislabeling and the occasional lack of visual context don’t detract significantly from its value. For dedicated fans of free jazz, fusion, and 1970s avant-garde music, this set is a rewarding, if demanding, journey, rated highly (around 4/5 stars) for its historical and musical significance. It’s less accessible for casual listeners but a must-have for those invested in the era’s experimental spirit.
52-5 Friar / I Love You When You're Modest / Lullo's Page / Celsius 8:34
52-6 Kit 5:06
52-7 Befana 3:37
52-8 Guest Room / Luftlucht 5:46
ICP 049 – ICP Orchestra
53-1 Niet Zus, Maar Zo 2:26
53-2 Wakeup Call 4:36
53-3 Sumptious 8:47
53-4 Hamami 2:59
53-5 Busy Beaver 5:43
53-6 Mitrab 4:19
53-7 The Lepaerd 5:27
53-8 Het Zoemen 4:36
53-9 Erma 2:17
53-10 No Idea 7:00
53-11 Sonnet In Search Of A Moor 4:59
ICP 050 – ICP – !ICP! 50
54-1 Where Is The Police 3:39
54-2 Arc-Eo 9:37
54-3 Happy Go Lucky / Local 6:52
54-4 Moeder Alle Oorlogen 4:42
54-5 Barbaric 5:01
54-6 'Round About Midnight 7:12
Accordion – Arjen Gorter (tracks: 1-3 to 1-6), Leo Borgart (tracks: 8-2)
Alto Saxophone – Ab van der Molen (tracks: 9-7), Baldo Maestri (tracks: 26-1 to 26-7), Dudu Pukwana (tracks: 25-1 to 25-3), Eugenio Colombo (tracks: 26-1 to 26-7), Gianluigi Trovesi (tracks: 26-1 to 26-7), Gilius V. Bergeiyk* (tracks: 24-1 to 24-11), John Tchicai (tracks: 3-1 to 3-4, 6-1 to 6-10, 9-4, 24-1 to 24-11), Keshavan Maslak (tracks: 28-1 to 28-12), Michael Moore (4) (tracks: 28-1 to 28-12, 29-1 to 29-8, 30-1 to 30-13, 46-1 to 46-18, 47-1 to 47-8, 48-1 to 48-6, 50-1 to 50-9, 53-1 to 53-11), Paul Termos (tracks: 29-1 to 29-8, 30-1 to 30-7), Peter Bennink (tracks: 7-1, 7-2, 8-1 to 8-3, 9-7, 10-1 to 10-9, 24-1 to 24-11), Peter Brötzmann (tracks: 7-1, 7-2, 24-1 to 24-11, 28-1 to 28-12), Sean Bergin (tracks: 29-1 to 29-8, 30-1 to 30-7), Willem Breuker (tracks: 2-1 to 2-6, 9-7)
Arranged By – Ab Baars (tracks: 47-1, 53-5, 53-11), Michael Moore (4) (tracks: 48-3, 53-10, 54-5), Misha Mengelberg (tracks: 28-12, 29-1 to 29-8, 30-1 to 30-13, 32-2 to 32-7, 48-6, 50.1, 50.9, 54-3, 54-6)
Baritone Saxophone – Peter Brötzmann (tracks: 7-1, 7-2, 24-1 to 24-11, 28-1 to 28-12)
Barrel Organ [Miniature] – Willem Breuker (tracks: 9-6)
Bass Clarinet – Gianluigi Trovesi (tracks: 26-1 to 26-7), Han Bennink (tracks: 24-1 to 24-11), Theo Loevendie (tracks: 1-1, 1-2), Willem Breuker (tracks: 1-1 to 1-6, 2-1 to 2-6, 8-2, 8-5, 9-1, 9-4, 9-5, 9-7)
Cello – Ernst Reijseger (tracks: 29-1 to 29-8, 30-1 to 30-13, 32-1 to 32-13, 33-1 to 33-7, 33-9 to 33-18, 46-1 to 46-18), Tristan Honsinger (tracks: 24-1 to 24-11, 33-8, 37-1 to 37-7, 38-1 to 38-11, 40-1 to 40-8, 43-1 to 43-13, 44-1 to 44-13, 47-1 to 47-8, 48-1 to 48-6, 49.2, 49-3, 49-5, 49-7 to 49-9, 50-1 to 50-9, 52-1 to 52-8, 53-1 to 53-11, 54-1 to 54-6)
Clarinet – Ab Baars (tracks: 30-8 to 30-13, 44-1 to 44-13, 46-1 to 46-18, 47-1 to 47-8, 48-1 to 48-6, 49-2 to 49-5, 49-7, 49-9, 50-1 to 50-9), Ab van der Molen (tracks: 9-7), Eric Dolphy (tracks: 17-1), Han Bennink (tracks: 19-1, 20-1, 21-1 to 21-4, 22-1 to 22-3, 25-1 to 25-3), Michael Moore (4) (tracks: 28-1 to 28-12, 29-1 to 29-8, 30-8 to 30-13, 44-1 to 44-13, 46-1 to 46-18, 47-1 to 47-8, 48-1 to 48-6, 50-1 to 50-9, 53-1 to 53-11), Tobias Delius (tracks: 43-1 to 43-13, 47-1 to 47-8, 50-1 to 50-9)
Clarinet [B-Flat] – Willem Breuker (tracks: 8-5)
Clarinet [Eb] – Willem Breuker (tracks: 1-1, 1-2, 2-1 to 2-6, 8-1, 8-3, 10-1 to 10-9)
Conch [Conch Trumpet] – Han Bennink (tracks: 5-1 to 5-7)
Contrabass Clarinet – Anthony Braxton (tracks: 9-5)
Double Bass – Alan Silva (tracks: 24-1 to 24-11), Antonio Borghini (tracks: 48-1 to 48-6), Arjen Gorter (tracks: 1-3 to 1-5, 9-1), Ernst Glerum (tracks: 32-1 to 32-7, 44-1 to 44-13, 46-1 to 46-18, 47-1 to 47-8, 48-1 to 48-6, 50-1 to 50-9, 53-1 to 53-11, 54-1 to 54-6), Jacques Scholz* (tracks: 17-1), Joe Williamson (tracks: 37-1 to 37-7, 38-1 to 38-11, 43-1 to 43-13, 52-1 to 52-8), Maarten van Regteren Altena* (tracks: 1-1 to 1-6, 9-3, 10-1 to 10-9, 13-1 to 13-8, 18-1 to 18-5, 23-1 to 23-13), Roberto Bonati (tracks: 48-1 to 48-6), Rozemarie Heggen (tracks: 51-1 to 51-11)
Drums – Han Bennink (tracks: 1-1 to 1-6, 2-1 to 2-6, 3-1 to 3-4, 6-1 to 6-10, 8-1 to 8-3, 8-5, 11-1, 11-2, 12 1 to 12-14, 14-1 to 14-6, 15-1 to 15-6, 16-1 to 16-3, 24-1 to 24-11, 18-1 to 18-5, 19-1, 20-1, 21-1 to 21-4, 22-1 to 22-3, 25-1 to 25-3, 27-1 to 27-6, 28-1 to 28-12, 30-1 to 30-13, 31-1, 35-1, 35-2, 37-1 to 37-7, 38-1 to 38-11, 41-1 to 41-4, 43-1 to 43-13, 44-1 to 44-13, 45-1, 45-2, 46-1 to 46-18, 47-1 to 47-8, 48-1 to 48-6, 49-1 to 49-3, 49-5, 49-9, 50-1 to 50-9, 52-1 to 52-8, 53-1 to 53-11, 54-1 to 54-6)
Electronics – Steve Beresford (tracks: 41-1 to 41-4)
Electronics [Crackle Box] – Michel Waisvisz (tracks: 24-1 to 24-11)
Ensemble – Asko Ensemble (tracks: 48-1 to 48-6), ICP Tentet (tracks: 24-1 to 24-11)
Flute – Ab Baars (tracks: 49-2 to 49-5, 49-7, 49-9), Eugenio Colombo (tracks: 26-1 to 26-7), Rien de Reede (tracks: 9-3), Willem Breuker (tracks: 9-6)
Glockenspiel – Rob du Bois (tracks: 8-1)
Guitar – Derek Bailey (tracks: 5-1 to 5-7, 6-1 to 6-10, 7-1, 7-2), Wim Overgaauw (tracks: 9-3)
Instruments [Toy] – Misha Mengelberg (tracks: 1-3 to 1-6)
Khene – Han Bennink (tracks: 11-1, 11-2, 12-1 to 12-14)
Mandolin – Tonny Pels-Waarlé* (tracks: 8-2)
Oboe – Gilius van Bergeijk (tracks: 1-1, 1-2, 24-1 to 24-11), Han Bennink (tracks: 5-1 to 5-7)
Percussion – Han Bennink (tracks: 9-1 to 9-3, 9-6, 12 1 to 12-14, 26-1 to 26-7, 27-1 to 27-6, 29-1 to 29-8, 31-1, 32-1 to 32-8, 32-11, 32-13, 33-1, 33-4, 33-5, 33-7, 33-8, 33-10 to 33-18), Peter Bennink (tracks: 9-6), Steve McCall (tracks: 9-5)
Percussion [Bass Drum, Small & Large Tom Toms, Street Parade Drum, Snare Drum, Tabla, Banya, Vibrapan, Homemade Rattles, Cow & Temple Bells, Chinese 7inch Giant Cymbals, Scraper, Chinese Temple Blocks, Hi-hat, Iron And Wooden Sticks] – Han Bennink (tracks: 2-1 to 2-6)
Percussion [Homemade Junk, Vibra Pan, Rolmo, Bird Calls + Decoys] – Han Bennink (tracks: 18-1 to 18-5)
Percussion [Logs] – Han Bennink (tracks: 16-1 to 16-3)
Percussion [Wailophone + Hanrinet(te)] – Han Bennink (tracks: 18-2)
Bassoon] – Remko Edelaar (tracks: 48-1 to 48-6)
Cello] – Örs Köszeghy (tracks: 48-1 to 48-6)
Clarinet, Saxophone] – David Kweksiber* (tracks: 48-1 to 48-6)
Double-Bass] – Peter Rikkers (tracks: 48-1 to 48-6)
Flute, Piccolo, Ocarina] – Jeannette Landré (tracks: 48-1 to 48-6)
Hanrinet(te), Birds Decoys, Vibrapan] – Han Bennink (tracks: 16-1 to 16-3)
Oboe] – Marieke Schut (tracks: 48-1 to 48-6)
Percussion] – Niels Meliefste (tracks: 48-1 to 48-6)
Piano] – Gerard Bouwhuis (tracks: 48-1 to 48-6)
Trombone] – Toon van Ulsen (tracks: 48-1 to 48-6)
Trumpet] – Hendrik Jan Lindhout (tracks: 48-1 to 48-6)
Viola] – Martina Forni (tracks: 48-1 to 48-6)
Violin] – Heleen Hulst (tracks: 48-1 to 48-6), Jan Erik van Regteren Altena (tracks: 48-1 to 48-6)
Piano – Misha Mengelberg (tracks: 1-1, 1-2, 3-1 to 3-4, 6-1 to 6-10, 7-1, 7-2, 8-2, 11-1, 11-2, 14-1 to 14-6, 15-1 to 15-6, 16-1 to 16-3, 17-1, 17-2, 19-1, 20-1, 21-1 to 21-4, 22-1 to 22-3, 24-1 to 24-11, 25-1 to 25-3, 26-1 to 26-7, 27-1 to 27-6, 28-1 to 28-12, 29-1 to 29-8, 30-1 to 30-13, 32-1 to 32-5, 32-7, 32-8, 32-10, 32-11, 32-13, 33-5, 33-7, 33-8, 33-11 to 33-18, 34-1, 34-2, 35-1, 35-2, 44-1 to 44-13, 46-1 to 46-18, 47-1 to 47-8, 48-1 to 48-6, 49-2, 49-6, 49-8, 49-9, 50-1 to 50-9, 53-1 to 53-11, 54-1 to 54-6), Rob du Bois (tracks: 8-3, 8-5, 9-1 to 9-3, 9-6, 9-7), Steve Beresford (tracks: 41-1 to 41-4)
Piano [Kaffir Piano] – Han Bennink (tracks: 11-1, 11-2)
Piccolo Flute – Ank Sillem (tracks: 8-2)
Reeds – Ab Baars (tracks: 32-1 to 32-7, 32-9 to 32-11, 32-13, 33-1 to 33-18, 54-1 to 54-6), Michael Moore (4) (tracks: 32-1 to 32-13, 33-1 to 33-18, 54-1 to 54-6), Tobias Delius (tracks: 54-1 to 54-6)
Saw – Han Bennink (tracks: 16-1 to 16-3)
Soprano Saxophone – Ab Baars (tracks: 30-8 to 30-13), Baldo Maestri (tracks: 26-1 to 26-7), Gianluigi Trovesi (tracks: 26-1 to 26-7), Han Bennink (tracks: 27-1 to 27-6, 31-1), Peter Bennink (tracks: 10-1 to 10-9), Renato Geremia (tracks: 26-1 to 26-7), Steve Lacy (tracks: 18-1 to 18-5, 29-1 to 29-8, 30-1 to 30-7), Theo Loevendie (tracks: 1-1, 1-2)
Steel Drums – Henry Ronde (tracks: 1-3 to 1-6)
Synthesizer – Michel Waisvisz (tracks: 18-1 to 18-5), Thomas Lehn (tracks: 45-1, 45-2)
Tenor Saxophone – Ab Baars (tracks: 30-81 to 30-13, 44-1 to 44-13, 46-1 to 46-18, 47-1 to 47-8, 48-1 to 48-6, 49-2 to 49-5, 49-7, 49-9, 50-1 to 50-9, 53-1 to 53-11), Evan Parker (tracks: 7-1, 7-2), Keshavan Maslak (tracks: 28-1 to 28-12), Peter Bennink (tracks: 8-1, 8-2), Peter Brötzmann (tracks: 7-1, 7-2, 24-1 to 24-11, 28-1 to 28-12), Renato Geremia (tracks: 26-1 to 26-7), Sean Bergin (tracks: 29-1 to 29-8), Tobias Delius (tracks: 37-1 to 37-7, 38-1 to 38-1, 43-1 to 43-13, 46-1 to 46-18, 47-1 to 47-8, 48-1 to 48-6, 50-1 to 50-9, 52-1 to 52-8, 53-1 to 53-11), Willem Breuker (tracks: 2-1 to 2-6, 9-1, 10-1 to 10-9)
Toy [Toys] – Steve Beresford (tracks: 41-1 to 41-4)
Trombone – Bert Koppelaar (tracks: 8-2, 24-1 to 24-11), Garret List* (tracks: 29-1 to 29-8, 30-1 to 30-7), George Lewis (tracks: 30-5 to 30-6, 32-8, 32-11, 32-13), Giancarlo Schiaffini (tracks: 26-1 to 26-7), Han Bennink (tracks: 25-1 to 25-3, 27-1 to 27-6), Joep Maessen (tracks: 28-1 to 28-12), Paul Rutherford (2) (tracks: 7-1, 7-2), Willem van Manen (tracks: 8-1, 8-3, 8-5, 8-6, 9-2, 9-7, 10-1 to 10-9), Wolter Wierbos (tracks: 28-1 to 28-12, 29-1 to 29-8, 30-1 to 30-13, 32-1 to 32-7, 32-9 to 32-11, 32-13, 33-1 to 33-18, 36-1 to 36-3, 44-1 to 44-13, 46-1 to 46-18, 48-1 to 48-6, 50-1 to 50-9, 53-1 to 53-11, 54-1 to 54-6)
Trombone [Prepared], Kazoo, Tape [Recording Of Brazilian Jungle], Performer [Dhung, Rkangling, Oe-oe, A Fiddle-like Instrument, Mokugyo, Rolmo, Silnyen, Etc.] – Han Bennink (tracks: 12 1 to 12-14)
Trumpet – Enrico Rava (tracks: 26-1 to 26-7), Evert Hekkema (tracks: 32-2 to 32-7, 33-1, 33-3 to 33-5, 33-15, 33-16), Gerard van der Vlist (tracks: 8-1, 8-3, 9-2), Han Bennink (tracks: 14-1 to 14-6, 15-1 to 15-6), Manfred Schoof (tracks: 1-6), Thomas Heberer (tracks: 44-1 to 44-13, 46-1 to 46-18, 47-1 to 47-8, 48-1 to 48-6, 50-1 to 50-9, 53-1 to 53-11, 54-1 to 54-6), Toon de Gouw (tracks: 29-1 to 29-8, 30-1 to 30-7), Toshinori Kondo (tracks: 28-1 to 28-12)
Trumpet [Soft Trumpet] – Han Bennink (tracks: 12 1 to 12-14, 16-1 to 16-3)
Tuba – Larry Fishkind (tracks: 26-1 to 26-7, 28-1 to 28-12, 29-1 to 29-8, 30-1 to 30-7)
Vibraphone – Gunter Hampel (tracks: 9-5)
Viola – Hasso van der Westen (tracks: 1-3 to 1-6), Lodewijk de Boer (tracks: 1-3 to 1-6), Mary Oliver (tracks: 42-1 to 42-11, 44-1 to 44-13, 45-1, 45-2, 46-1 to 46-18, 48-1 to 48-6, 50-1 to 50-9, 51-1 to 51-11, 53-1 to 53-11, 54-1 to 54-6), Maurice Horsthuis (tracks: 28-1 to 28-12, 29-1 to 29-8, 30-1 to 30-13, 32-8 to 32-13)
Violin – Ab van der Molen (tracks: 9-3), Maartje ten Hoorn (tracks: 32-3, 32-6, 32-7, 33-8 to 33-15, 33-17), Mary Oliver (tracks: 42-1 to 42-11, 44-1 to 44-13, 45-1, 45-2, 46-1 to 46-18, 47-1 to 47-8, 48-1 to 48-6, 50-1 to 50-9, 51-1 to 51-11, 53-1 to 53-11, 54-1 to 54-6), Renato Geremia (tracks: 26-1 to 26-7)
Vocals – Jeanne Lee (tracks: 9-5), Misha Mengelberg (tracks: 19-1, 20-1, 21-1 to 21-4, 22-1 to 22-3, 28-1 to 28-12, 49-2, 49-6, 49-8, 49-9)
Voice – Alessandra Patrucco (tracks: 49-1 to 49-9), Han Bennink (tracks: 2-1 to 2-6, 11-1, 11-2, 12 1 to 12-14, 14-1 to 14-6, 15-1 to 15-6, 16-1 to 16-3, 19-1, 20-1, 21-1 to 21-4, 22-1 to 22- 3), Keshavan Maslak (tracks: 28-1 to 28-12), Peter Brötzmann (tracks: 28-1 to 28-12), Toshinori Kondo (tracks: 28-1 to 28-12), Tristan Honsinger (tracks: 40-1 to 40-8, 49-2, 49-3, 49-5, 49-7 to 49-9)
Whistle – Dudu Pukwana (tracks: 25-1 to 25-3)
Wind [Gachi] – Han Bennink (tracks: 5-1 to 5-7, 8-6)
Limited Edition of 1000 numbered copies.
Comes with thick book, fold-out insert with credits and poster.
Hand-numbered and painted by Han Bennink 2012.
Recording Dates:
ICP 000: Tracks 1 and 2 June 19th, 1967 at VARA Studio 5 in Hilversum, Tracks 3, 4 and 5 July 19th, 1967 at VARA Studio in Hilversum and TRack 6 August 25th, 1967 at VARA Studio, Hilversum.
ICP 001: November 19th and December 10th, 1967 in Felix Meritis, Amsterdam.
ICP 002: May 13th and May 14th, 1968 in Schoonoord, Zeist
ICP 003: March 26th, 1969 at Dam Square, Amsterdam.
ICP 004: July 30th, 1969 at Studio André van de Water in Nederhorst den Berg.
ICP 005: March 3rd, 1970 at De Lanteern (Lanteren) in Rotterdam.
ICP 006: May 14th 1970.
ICP 007: Track 1 & 3 October 28th, 1969 at Studio André van de Water in Nederhorst den Berg.
ICP 007: Track 2 January 14th, 1969 at The Radio Wereld Omroep in Hilversum.
ICP 007: Track 4 May 23rd, 1970 at Studio André van de Water in Nederhorst den Berg.
ICP 007: Track 5 August 28th, 1969 at Studio Cinecentrum in Hilversum.
ICP 007: Track 6 March 26th, 1969 at Studio André van de Water in Nederhorst den Berg.
ICP 008: Track 1 November 22nd, 1969 in Stedelijk Museum, Amsterdam.
ICP 008: Track 2 October 27th, 1969 at Studio André van de Water in Nederhorst den Berg.
ICP 008: Track 3 February 7th, 1970 at Studio André van de Water in Nederhorst den Berg.
ICP 008: Track 4 March 4th, 1970 in Studio Cinetone, Duivendrecht.
ICP 008: Track 5 July 6th, 1970 at Studio André van de Water in Nederhorst den Berg.
ICP 008: Track 6 Hanuary 8th, 1970 at Studio André van de Water in Nederhorst den Berg.
ICP 008: Track 7 March 26th, 1969 at Studio André van de Water in Nederhorst den Berg.
ICP 009: January 23rd, 1971 in the Mickery Theater, Loenersloot.
ICP 010: March 23rd, 1971 at the Stedelijk Museum, Amsterdam.
ICP 011: 1971 and 1972 in Han Bennink's stable at the Mijndertsedijk in Loenen aan de Vecht.
ICP 012: June and July 1973 in Amsterdam.
ICP 013: March 16th, 1973 in de Trapkes, Breda.
ICP 014: May 12th, 1974 in Quartier Latin, Berlin.
ICP 015: Track 1 June 1st, 1964 in New Sound Club, Port van Cleef in Eindhoven.
ICP 015: Track 2 June 6th, 1972 in Amsterdam.
ICP 016: September 23rd, 24th and 29th 1974.
ICP 017; February 1st, 1975 in Enschede, February 18th, 1975 and May 30th in Zoetermeer.
ICP 018: December 27th, 1973 in De Brakke Grond, Amsterdam, February 28th 1975 in Stadskanaal, March 26th, 1975 in Brugge, and May 30th, 1975 in Theater Frascati, Amsterdam.
ICP 019: May 2nd, 1875 in Theater Frascati, Amsterdam.
ICP 020: September 14th - 17th, 1977 in Open Jongeren Centrum Shiva in Uithoorn, Amsterdam & Utrecht.
ICP 021: September 2nd to 5th, 1978 in Uithoorn.
ICP 022: September 1st, 1979 in Castello Di Soncino, Italy.
ICP 023: July 3rd, 1979 in De Kroeg in Amsterdam, November 2th, 1979, June 13th, 1990 and March 28th, 1981 in BIMHuis, Amsterdam.
ICP 024: May 11th, 1982 in Shima-no-uchi Church, Osaka and May 17th, 1982 in Sankei Hall, Tokyo.
ICP 025: May 11th, 1984 in Mephisto, Rotterdam, Track 4 on May 12th, 1984 in Vredenburg, Utrecht.
ICP 026: Track 1 to 3 October 27th, 1986 in Vredenburg, Utrecht.
ICP 026: Track 4 Ocotober 22th, 1986 in Wilhelmina, Eindhoven.
ICP 026: Track 5 & 6 November 20th, 1986 in Florence, Italy
ICP 026: Track 7 December 10th, 1986 in Schlemmer, The Hague.
ICP 026: Track 8 to 11 & 13 May 11th, 1984 in Mephisto, Rotterdam
ICP 026: Track 12 May 12th, 1984 in Vredenburg, Utrecht.
ICP 027: May 4th, 1990 in the Stedelijk Museum, Amsterdam.
ICP 028: Track 1 November 12th, 1990 at Bimhuis, Amsterdam
ICP 028: Track 2 & 5 November 16th, 1990 at Thelonious, Rotterdam.
ICP 028: Track 3 & 6 November 22nd, 1990 at Bimhuis, Amsterdam.
ICP 028: Track 4 November 13th, 1990 at Bimhuis, Amsterdam.
ICP 028: Track 7 February 22nd, 1991 at Schauspielhaus, Wuppertal, Germany.
ICP 028: Tracks 8 to 13 November 29th, 1986 in Florence , Italy.
ICP 029: Tracks 1 to 7 November 14th, 1990 in the Bimhuis, Amsterdam.
ICP 029: Track 8 November 10th, 1991 in Bussum.
ICP 029: Tracks 9, 11, 16 to 18 November 21st, 1990 at BIMhuis, Amsterdam.
ICP 029: Tracks 10 and 15 February 22nd, 1991 at Schauspielhaus, Wuppertal, Germany.
ICP 029: Tracks 12 to 14 November 30th,1990 at IJsbreker, Amsterdam.
ICP 030: Track 1 April 10th, 1994 at Theater Frascati, Amsterdam.
ICP 030: Track 2 May 28th, 1994 at the Royal Conservatory, The Hague.
ICP 031: Track 1 January 31st, 1997 in the Bimhuis, Amsterdam.
ICP 031: Track 2 May 1st, 1992 in Theater Romein, Leeuwarden.
ICP 032: October 13th, 1993 in Groningen and December 1St, 1995 in Tourcoing, France
ICP 033: June 7th, 1997 in Polanen Theater, Amsterdam
ICP 034: September 6th, 1999 in the Bimhuis, Amsterdam.
ICP 035: Produced in 1999.
ICP 036: December 2nd and 21st, 1999 at Plantage Doklaan, Amsterdam.
ICP 037: Tracks 1 & 4 February 24th, 2000 in Mahogany Hall, Edam
ICP 037: Tracks 2 & 3 February 17Th, 2000 at the Bimhuis, Amsterdam
ICP 038: July 2000 at Plantage Doklaan, Amsterdam
ICP 039: April 25th to 27th, 2001 in Nigglmühle, Allgäu.
ICP 040: June 19th and 20th, 2001 in De IJsbreker, Amsterdam.
ICP 041: June 5th, 2003 at the Bimhuis, Amsterdam.
ICP 042: November 26th and 27th, and December 13th, 2003 at the Bimuis, Amsterdam.
ICP 043: June 25th, 2005 in Plus-Etage, Baarle Nassau
ICP 044A: May 9th, 2007 at Teatro Duse, Bologna at the Angelica Festival.
ICP 045: February 3, 2007 in the Bimhuis, Amsterdam.
ICP 046: May 8th, 2008 in the Bimhuis, Amsterdam
ICP 047: November 12th, 2007 and March 11th, 2008 in Amsterdam.
ICP 048: April 16th, 2009 in the Bimhuis, Amsterdam
ICP 049: Tracks 1, 5, 10, 11 September 2nd and 3rd, 2009 in the Bimhuis, Amsterdam.
ICP 049: Tracks 2, 4, 7, 8: September 4th, 2009 in the Bimhuis, Amsterdam
ICP 049: Tracks 3, 6, 9 June 13th, 2009 at Cultureel Centrum Maasmechelen, Belgium.
ICP 050: Tracks 1, 3 & 4 September 2th to 4th, 2009 at the Bimhuis, Amsterdam
ICP 050: Tracks 2, 5 & 6 June 13th, 2009 at Cultureel Centrum Maasmechelen, Belgium.
29-7 listed as "2300 skidoo" on slipcover.
29-8 listed as "Terpsichore" on slipcover.
29-1,2,3,8 are duplicated on disk 30 (but disk 29 seems to come from a poor cassette source).
30-12 is an edited version of 29-4 (omitting piano solo).
30-13 is an edited version of 29-5 (omitting trombone solo).
The group was founded by pianist Misha Mengelberg (who’s sitting out this tour) and drummer Han Bennink in 1974, and it’s existed ever since with a goodly amount of turnover (past members have included John Tchicai, Peter Brötzmann, Alan Silva, Enrico Rava, Giancarlo Schiaffini, Steve Lacy, and George Lewis, among numerous others), though the current lineup has remained more or less the same for a decade and a half. Yet before this particular ensemble started, Mengelberg and Bennink had a very long history together dating back to 1961: in 1967 they formed Instant Composers Pool with reedist Willem Breuker as a musical cooperative. Among its efforts was launching a record label to chronicle some of its activityThing
In 1958, guitarist Jim Hall, in liner notes to a Jimmy Giuffre album, used the term “instant composition” to describe improvising. A few years later, Misha Mengelberg, knowing nothing of this, re-coined the term, and it stuck. A quiet manifesto, those two English words countered notions that improvising was either a lesser order of music-making than composing, or an art without a memory, existing only in the moment, unmindful of form. Misha's formulation posited improvisation as formal composition's equal (if not its superior, being faster).
Yes but: Misha says he was thinking of “instant coffee,” stuff any serious java drinker recognized as a sham substitute. He deflates his lofty idea even as he raises it. In the mid-1960s Mengelberg became involved with the Fluxus art movement, which he found inviting because it stood for nothing, had no ideals to defend. What bound together Fluxus's conceptualists, shock artists, early minimalists, musical comics et cetera was a need for a performance format that could accommodate them all. (Hence that symbol of '60s kookiness, the multimedia Happening.) Eventually he formed a band with that kind of flexibility: the modern ICP Orchestra.
ICP co-founders Mengelberg and drummer Han Bennink have played together since 1961; before long they’d played on Eric Dolphy’s 1964 Last Date and in a successful Dutch quartet, until they brought in the anarchistic young reed player Willem Breuker, whose disruptive presence tore the group apart. That was OK; Han and Misha liked musical confrontations. Mengelberg had studied composition at the Hague conservatory (alongside his friend Louis Andriessen); in his ’60s game piece “Hello Windyboys,” two wind quintets variously engage in call and response, communicate in musical code, interrupt or block each other, or seduce their rivals into cooperating. They did formally what ICP’s musicians now do informally.
Bennink, Breuker and Mengelberg founded the ICP co-op in 1967. In 1974 the saxophonist left to form the Willem Breuker Kollektief, longtime flagship of Dutch improvised music. Mengelberg (and Bennink) founded the raggedy ICP Tentet (including German saxophonist Peter Brötzmann, and sometimes cellist Tristan Honsinger). That band matured into something very like the present-day ICP Orchestra in the 1980s, with the addition of younger players, some of whom have been there ever since: trombonist Wolter Wierbos, saxophonists/clarinetists Michael Moore and Ab Baars, and bassist Ernst Glerum. When they were new to the orchestra, Misha rehearsed the players in various performance strategies—such as the uses of his “viruses,” self-contained packets of notated material a player could cue into any composition to infect or disable it. The musicians learned how to deal with fellow players’ quirks of timing or intonation, how to confound their colleagues before their colleagues could confound them, how to bend or subvert the music in performance, and run little subroutines within a piece.
Another, jazzier part of their education was a series of repertory projects, devoted to Mengelberg’s pianistic and compositional heroes Herbie Nichols, Thelonious Monk and Duke Ellington. Those projects served as object lessons in the value of pretty melodies and voicings (Ellington), the construction and subversion of chords (Monk) and how to devise chord progressions that move in unusual ways (Nichols). Pieces by each of those composers still turn up on ICP set lists (along with a few by Hoagy Carmichael), and those lessons still pay off.
In time, the players came to understand that any of the possibilities Misha had raised was available for use at any time, on any piece. Members could also make up new wrinkles on the spot, confident everyone else would pick right up on it. That also proved true with the players who joined ICP later: German trumpeter (and now New Yorker) Thomas Heberer; new music violinist/violist Mary Oliver, and saxophonist/clarinetist Tobias Delius. Cellist Honsinger rejoined in the 90s as well. (All also lead their own ensembles or occasional projects.)
So the mature ICP is a mixed ensemble: part jazz band, part chamber orchestra. On stage, the space between Misha’s piano and Han’s drums is occupied by a thorny string trio: viola, cello and doublebass. Across from them is a five-piece horn section, three reeds and two brass. As in Ellington’s band, distinctive, individual players can merge beautifully on the written material.
Indeed, given their individuality, the blending is remarkable. Sleek-sounding Mary Oliver brings the conceptual rigor of new composed music to the strings; Tristan Honsinger is the anarchist, testing limits; Ernst Glerum with his deep woody bass tone anchors the string and rhythm sections. (And he gets a beautiful tone when he bows the strings.) Thomas Heberer has solid bebop chops, and a quarter-tone trumpet to let him get into the cracks in the 12-note scale. The blustery, slippery Wolter Wierbos can imitate any trombone sound he ever heard, without losing his own voice. Ab Baars favors extreme clarinet high notes, and a loud but nakedly vulnerable tenor saxophone sound. On clarinet or alto Michael Moore can be sweetly lyrical or sarcastically sour. Tobias Delius’s big, furry tenor tone harks back to the swing era, but his ear is decidedly modern.
Meanwhile, drummer Bennink amplifies and gooses soloists’ rhythms, and sets optimal tempos for limber swing. He’s loud but always listening, and has excellent instincts for pulling the plug when a particular episode or gambit has run its course. And Misha colors and subtly influences the action from the keyboard. As pianist he took from Monk the idea that effective comping may be more obstinate than sympathetic—and that sometimes, silence is the best option.
To keep things fresh, Mengelberg would write out and distribute set lists moments before the players hit the stage. Those lists typically include several compositions separated by spontaneous improvised sub-groups, allowing the players the option of improvising their way out of and into the written themes. There might also be an “instant composition”—the players taking their cues from one of their fellows, who conducts their improvising using informal pantomime gestures.
The band’s big enough to shout but compact enough to hold the road on sharp turns. In performance, its tone and frames of reference keep shifting. The action is fluid, as in a dream: surreal music for real. An ICP set contains new and old tunes, jazz business and maybe a little funny business, full-force raveups and improvised breakdowns.
Nowadays, all the players take turns writing those set lists—Bennink most frequently. And the players bring their own pieces, and new arrangements of older Mengelberg tunes. The music’s full of surprises, unexpected turns, limber grace and strange eruptions. Nothing else and no one else sounds quite like them, and no two gigs are ever alike.
Kevin Whitehead
THE MUSICIANS
Misha Mengelberg (1935-2017) was a co-founder of the Instant Composers Pool with Han Bennink and Willem Breuker in 1967. He performed in duo with Han Bennink for more than 40 years and led the ICP Orchestra for more than 30. His other credits include performing and recording with Eric Dolphy, John Tchicai, Derek Bailey, Steve Lacy, Peter Brötzmann, Dave Douglas, and many others. For more information, see the European Free Improvisation pages or All Music Guide.
Han Bennink (drums) is a co-founder of the ICP, long-time associate of Misha Mengelberg, and one of the most in-demand drummers in Europe. He has performed and recorded with jazz musicians such as Dexter Gordon and Sonny Rollins, as well as European improvisers such as Peter Brötzmann, Derek Bailey, and Willem Breuker. He trained as a graphic artist and has exhibited work in several media, including sculptures from found objects that can include broken drum heads and drumsticks; he also designs many of his own LP and CD sleeves. www.hanbennink.com.
In addition to playing solo concerts and performing with his own trio, Ab Baars (clarinet, tenorsax) can be regularly heard with The Ex, Luc Ex’s Assemblee and the Kaja Draksler Octet. Since 1990, his main focus has been on the Ab Baars Trio, which led to tours with Steve Lacy and Roswell Rudd and Ken Vandermark. He has a regular duo with violist Ig Henneman and co-leads the trio Fish-scale Sunrise and Perch Hen Brock & Rain. A collaboration with the Nieuw Ensemble, shakuhachi player Iwamoto and conductor Butch Morris at the festival Improvisations. Baars resume also mentions the names of François Houle, John Carter, Roger Turner, Sunny Murray, George Lewis, Anthony Braxton, Cecil Taylor, and Gerry Hemingway among others. www.stichtingwig.com.
Tobias Delius (clarinet, tenorsax) began playing the tenor saxophone in the Ruhrgebiet, Germany. It was in Mexico City and especially in Amsterdam that he developed his very personal style. He now lives in Berlin. Next to leading his highly acclaimed 4tet with Han Bennink, Joe Williamson & Tristan Honsinger, which has been going for more than 20 years and 4 CDs on the ICP label, as well as the trio Booklet (with Joe Williamson and drummer Steve Heather) His improvisations can be heard in a very wide variety of contexts with musicians from all over the globe. www.doek.org.
Ernst Glerum studied classical double-bass at the Conservatory of Amsterdam. During his studies he joined contemporary music ensembles (ASKO ensemble) as well as improvised music groups (Curtis Clark, Hans Dulfer, JC Tans, Theo Loevendie). He frequently performed with such artists as Steve Lacy, Lee Konitz, Uri Caine, Teddy Edwards, Benny Maupin, Jimmy Knepper, Jamaladeen Tacuma, John Zorn, Bud Shank, Art Hodes, Don Byron and many others. Besides being a member of the ICP and the Benjamin Herman Quartet, he performs in the Guus Janssen Trio, Van Kemenade/Anderson/Glerum/Bennink and Quartet NL. He sometimes doubles on piano in his own trio Glerum Omnibus, which currently features pianist Timothy Banchet and drummer Jamie Peet.
Thomas Heberer (cornet, trumpet) joined ICP in 1993. Born in Germany in 1965, he studied at the Cologne University of Music. Thomas has performed on 6 continents and can be heard on approximately 100 recordings. He was awarded the SWR Jazz Award and the Preis der Deutschen Schallplattenkritik. His leader credits include recordings for the CIMP, Clean Feed, JazzHausMusik, NoBusiness, and Red Toucan labels. Thomas has been a resident of New York City since 2008, where he lives with his wife Robin. Recent collaborations include recordings and concert tours with among others: Peter Brötzmann, his own band Clarino, Ken Filiano, HNH, Achim Kaufmann, Butch Morris, Pascal Niggenkemper, The Nu Band and Aki Takase. Past highlights include writing music for choreographer Pina Bausch and the Tanztheater Wuppertal, his critically acclaimed duet with bassist Dieter Manderscheid, and his membership in Alexander von Schlippenbach's Berlin Contemporary Jazz Orchestra. www.thomasheberer.com.
Born in New England, the cellist Tristan Honsinger studied at the Peabody Conservatory in Baltimore. By the '70s, the Trans-American had moved to Amsterdam. Since a memorable set of concerts in Berlin in 1988, released on the much sought-after FMP box set, Honsinger has been a fairly regular member of Cecil Taylor's groups, including the European Quartet with Harri Sjöström and Paul Lovens, including an unusual combination that performed at the Total Music Meeting in November 1999: the Cecil Taylor Ensemble with Franky Douglas, Tristan Honsinger and Andrew Cyrille. From his current domicile, Berlin, he leads the groups In the Sea and House of Wasps.
he music of Guus Janssen (piano, organ) is difficult to categorize. It can be a composed improvisation (Brake for piano solo) or an improvised composition (parts from his Violin Concerto or his opera Noach). Music is like life itself, sometimes it asks for fast decisions and sometimes it needs to be thought over a lot. As a pianist and harpsichordist, he performed in various groupings with musicians from John Zorn to Gidon Kremer. Since the early 1980’s he has led his own ensembles, ranging from piano trios to 11-piece band and opera orchestra. Janssen’s achievements in the field of jazz and improvised music have been widely acclaimed. His compositions have been widely played by, amongst others, the Asko Schönberg Ensemble, the Ebony Band and the Koninklijk Concertgebouworkest. He received several prizes including the Johan Wagenaar Prijs 2012 for his whole oeuvre. Janssen teaches composition at the Royal Conservatoire in The Hague. www.guusjanssen.com.
Michael Moore (clarinet, alto sax) was born in Arcata, California, where he played in clubs and attended school before moving to Boston to study at the New England Conservatory of Music. There he worked with Joseph Allard, Jaki Byard, Joe Maneri, Gunther Schuller, George Russell and others. After spending two years in NYC he moved to Amsterdam, where he has lived since 1984. He (co)-led Available Jelly and Jewels & Binoculars and worked with Franky Douglas, Achim Kaufmann, Dave Douglas, Fred Hersch, Benoit Delbecq, Paul Berner and others. Current projects include his own Michael Moore Fragile Quartet, the Eric Boeren 4tet and singer Jodi Gilbert’s The Voice is the Matter. http://www.ramboyrecordings.com.
Mary Oliver (violin, viola) is a performer whose virtuosity spans the worlds of scored and improvised music. Oliver (b. La Jolla, California) completed her studies at the University of California, San Diego where she received her Ph.D. for her research in the theory and practice of improvised music. Her doctoral thesis, “Constellations in Play,” identified a new kind of creative discipline, which Oliver has pursued with colleagues locally and around the world. As a soloist, Oliver has performed in numerous international festivals and premiered works by John Cage, Chaya Czernowin, Brian Ferneyhough, Lou Harrison, George E. Lewis, Liza Lim, Misha Mengelberg, Iannis Xenakis and others. She has worked alongside improvising musicians and dancers such as Mark Dresser, Katie Duck, Joëlle Léandre, Myra Melford, Alexander von Schlippenbach and Michael Schumacher. In addition to her position in the ICP Orchestra she is a member of the trio Picatrix (with Nora Mulder and Greetje Bijma). She teaches at the faculty of Arts, Media and Technologie at the Hogeschool voor de Kunsten Utrecht, and at the Dutch Improv Academy.
Wolter Wierbos (trombone) can be heard on more than 100 CDs and LPs. Like many Dutch brass players Wierbos started out in a ‘fanfare’ (brass band), switching from trumpet to trombone when he was 17. Since 1979 he has performed with Henry Threadgill, The Ex, The Berlin Contemporary Jazz Orchestra (led by Alexander von Schlippenbach), the European Big Band (led by Cecil Taylor), Sonic Youth, the John Carter Project, Mingus Big Band (Epitaph, directed by Gunther Schuller) and many others. He was a regular member of the Gerry Hemingway Quintet, Franky Douglas’ Sunchild, Bik Bent Braam, Albrecht Maurer Trio Works, NoCanDo, Available Jelly and Sean Bergin’s MOB and currently performs with Carl Ludwig Hübsch’s Longrun Development of the Universe, Frank Gratkowski Quartet and Theo Loevendie’s Wellingtonians. He teaches at the ArtEZ Conservatory in Arnhem. www.wolterwierbos.nl.
Formed by drummer Han Bennink and pianist Misha Mengelberg in 1967, just a few months after Brötzmann released his epochal debut For Adolphe Sax, and three years before the first release on Evan Parker and Derek Bailey's Incus label, the Instant Composers Pool is one of the unassailable keystones of European improv. Though it sprang from the same Fluxus-inspired urge to rip up the rule book, right from the start, the Dutch collective was characterised by a mischievous twinkle largely missing in its peers – a sensibility that runs through this enormous 52-disc box-set of the label's entire back catalogue. While in UK improv, playing a blues would have been unthinkable, for Bennink and co it was just another strategy: take a listen to Extension, an album recorded by the 12-piece ICP Orchestra in 1984, which presents an entire programme of jumping bop by the overlooked pianist Herbie Nichols. A sense of the absurd is never far away, as on Misha Mengelberg's 1972 duet with his pet parrot, Eeko – taken from the album ICP015, which also features an archival 1964 recording of Bennink and Mengelberg swinging hard with Eric Dolphy. In fact, cast your eye over that list of contributors above – including John Tchicai, Steve Lacy, Enrico Rava and Toshinori Kondo – and you'll have some idea of the global network of artists that, at one time or another, worked under the ICP umbrella. Have no doubt; this incredible compendium is a historical artefact that will resonate for many years to come.
If interested in purchasing the music of ICP, please find your way to their bandcamp page
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