a r t i s t : Sven-Ake Johansson
t i t l e : Mit Dem NMUI Im SO 36 1979
d a t e : 2004
l a b e l : Grob
g e n r e : Avantgarde
r l s. d a t e : May/2007
t r a c k s : 03
b i t r a t e : VBRkbps
s i z e : 106,7 MB
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Sven-Ake JohanssonÆs art has been well documented, and yet
there are still discoveries to be found in his cosmos: among
these is his work with large groups. One knows the music he
has made with jazz combos, free improvising duos and trios or
classic free jazz ensembles. He has written pieces for music
theatre as well as for new music. He has, however, repeatedly
tried out improvisational models in orchestra-like situations
û and it is this work that has hardly been documented.
In the middle of the 80Æs, Johannson released a single
öSven-Ake Johansson with the NMUI in SO 36 æ79ö in cooperation
with the Berlin-based label, FMP. Hidden behind the cryptic
abbreviation NMUI is North European Melody and Improvisation
Orchestra [in German, Nordeuropaeische Melodie- und
Improvisationsorchester]. A group, which in addition to
Johansson (on drums and accordion), was made up of Ruediger
Carl (tenor saxophone, accordeon), Wolfgang Fuchs (diverse
wooden reed instruments), the trombonists Radu Malfatti and
Thomas Wiedermann, Hans Reichel on guitar, Norbert Eisbrenner
on violin and Maarten Altena van Regteren on bass and cello.
It goes without saying: an all-star ensemble.
The single, with a cover from Martin Kippenberger, who also
financially supported the recording, contained a twelve-minute
section from a concert that, of course, lasted much longer.
For nearly 20 years, this single remained the only evidence of
JohanssonÆs large ensemble work û until this recording, which
û almost exactly 25 years later to the very day û documents
that concert in its full length. And what can you hear? At
first, great solos. Johansson creates a lot of space for the
players; Hans Reichel, Ruediger Carl or Maarten Altena play
with abandon. Carl, for example, who hasnÆt played saxophone
for over 10 years, plays unchained free jazz û neighing
horses, screaming motors, rat-a-tatting machine guns.
Johannson doesnÆt just create öframesö in which the
improvisers move freely, rather he achieves an open
compositional principle where an unbelievable amount can (and
should) happen, but what happens (which is improvised) makes
sense, is committed, originates out of certain compositional
connections and leads to others in turn. Thus pulsing free
jazz results, flights in new music and, again and again,
Berlin folk music. With care, the NMUI adapts the swaying
classic öBis frueh um fuenfe/wir sind immer noch Berlinerö
[Until early at five in the morning/WeÆre all still from
Berlin]. öBerlin Folk Musicö û this refers to the location
where this music was performed: at the legendary concert hall
SO 36 in the middle of the Kreuzberg quarter of Berlin. Back
then in 1979 Martin Kippenberger programmed the concerts and
staged everything that was radical and good: punk, industrial,
wave, avant-pop and free jazz again and again. The audience û
mostly punks û accepted the aesthetic challenge and reacted
aggressively. One recognizes this on this recording, which
originates out of the audience. There is heckling, loud
screaming, displays of displeasure.... The musicians donÆt let
themselves be intimidated. In contrast, the music sounds even
more emphatic.
With this restoration of this legendary performance, GROB
continues the cooperation with Sven-Ake Johansson which began
last year (see Hudson Riv GROB 542). Other recordings will
follow.
This release is a co-production with the Swedish label OLOF
BRIGHT.
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01-I Mel. F, Berliner/Frueh Um Fuenfe [34:43]
02-II Anschluss Mit Handtuch [29:28]
(0,00' - 2,20" ╗Ohne Muskelkraft-Very Soft½)
03-III Eins Bis Zehn Minus Fuenf (1bis10-5) [14:12]
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78:23 min