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| 1. | Assemblage Dissociation/Consolation/Renunciation/Modul/Esother
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| 2. | Heroicredolphysiognomystery
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| 3. | Make Love Not War to Everybody
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| 4. | Renunciation
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| 5. | Modul
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| 6. | Esotheric
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| 7. | Epiphany
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| 8. | Turbulance
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| 9. | Heroicredolphysiognomystery
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| 10. | Make Love Not War to Everybody
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Jazz
Gunter Hampel - Clarinet (Bass), Flute, Liner Notes, Vibraphone
Pierre Courbois - Percussion
Piet Veening - Bass
Willem Breuker - Clarinet, Clarinet (Bass), Sax (Alto), Sax (Baritone), Sax (Soprano), Sax (Tenor)
* Andre de Water - Engineer
* John B. Litweiler - Liner Notes
* Natasha Zapotoski - Cover Design, Design Coordinator
* Pieter Boersma - Cover Photo
* Steven Walcott - Mastering, Tape Transfer
* Tom Abbs - Production Coordination
This CD is the debut from two of the premier pioneering creative improvising musicians that in time became the most enduring players in their style. While peers of Ornette Coleman, Albert Ayler, and Archie Shepp, German Gunter Hampel and Dutch native Willem Breuker were introduced to American audiences with this breakthrough recording, now on its second straight reissue for the ESP-Disk label. Hampel is clearly a devotee of Eric Dolphy on bass clarinet, doubles on vibraphone, and handles the flute on occasion. Breuker also wields the low-end woodwind Hampel prefers, as well as alto clarinet, and his full arsenal of saxophones from soprano to baritone. The near-22-minute seven-part epic suite "Assemblage" kicks off with a slight melody before Hampel and Breuker immediately slam the transmission into fifth gear, wailing into polyphony with ferocious abandon. They switch instruments almost as furiously, slowing and speeding up, churning, using written and improvised passages with Hampel's shimmering vibes and Breuker's whirring overblown unrefined phrases standing apart from a drum solo by Pierre Courbois, Hampel's flute, or Breuker's bass clarinet. "Heroicredolphysiognomystery" show the all-pervasive influence of Dolphy, extant in the introductory soprano/flute workout contrasting the arco bass from Piet Veening and clattery percussion via Courbois, building to a consistently intense and dense wall of sound, then surprisingly calming in a classic signature vibes solo from Hampel. "Make Love, Not War, To Everybody" is not so much a peace chant or mantra as it is a call to arms, identified by slide whistle, pizzicato bass, bowed cymbals all in hushed tones, sparse vibes, tambourine, and sliding bass restrained, then unleashed on Breuker's cue to a full-force phalanx of anxious, scattered warriors battling, then fading to triple pianissimo sexual hums, moans, and a satisfied, joyful clarion climax, all as the title suggests. Admittedly a recording for the challenged listener, with the caveat that these musicians are in their age of discovery, it bears historical and empirical substance as a recording not only reflecting the turbulent times, but part of an era that established personal freedoms for many thousands of players who followed, strived, and continue to stride alongside them.
---Michael G. Nastos, All Music Guide
Gunter Hampel
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Aug 31, 1937 in Gottingen, Germany
Genre: Jazz
Styles: Avant-Garde, Early Creative, Free Jazz, Avant-Garde Jazz, Free Improvisation
Hampel is one of jazz's most prolific and self-reliant musicians. In 1969, he formed Birth Records to release The 8th of July 1969, an album of his compositions performed by a group that included Anthony Braxton, Jeanne Lee, Steve McCall, Willem Breuker, and Arjen Gorter. Since then, Birth has released nearly 50 albums of Hampel's work in a variety of configurations; some of his performance and recording groups have been the Gunter Hampel Jazz Quintet, "Heartplants" Quintet, World Community Orchestra, Free Jazz Trio, and New York Orchestra.
Hampel began piano lessons at the age of four. By the time he was 16, he had added recorder, accordion, clarinet, saxophone, and vibes. His first exposure to jazz came at the end of World War II; American troops occupying his hometown of Gottingen listened to jazz on the Armed Forces Network and Willis Conover's Voice of America shows. The first jazz he heard was by Louis Armstrong; it affected him deeply. He grew up under the influence of European classical and folk music, as well as jazz. He formed his own jazz bands in his teens playing all styles of jazz, from early jazz to bebop. He also began composing his own tunes. After military service in the late '50s, Hampel studied architecture while continuing to play music on the side. By 1958, he had started playing jazz professionally. In 1964, he established the "Heartplants" Quintet, which included Alex von Schlippenbach and Manfred Schoof. The group recorded Heartplants (MPS/SABA), Hampel's first album, which received a five-star rating from Down Beat magazine. Hampel began playing festivals in Europe and elsewhere. He met vocalist Jeanne Lee in 1967 and began a long personal and musical partnership that lasted many years. In the '60s, he recorded for the Wergo and ESP labels and played with such American musicians as drummer Steve McCall and saxophonist Marion Brown.
With the formation of Birth, Hampel was able to document his music more completely; since the early '70s he's recorded an array of combinations, from duos to big bands. His various ensembles have included such famous musicians as Bill Frisell, Marvin "Smitty" Smith, and Albert Mangelsdorff, as well as such fine if unsung talents as Mark Whitecage, Perry Robertson, and David Eyges. In 1997, Hampel reconstituted his band with Schoof and von Schlippenbach for a gig at the Musik Triennale in Koln. The concert was recorded and the results were released on Birth under the title Legendary. Hampel continued going strong, touring and recording with musicians all over the world. As one might expect from so self-sufficient an artist, Hampel has embraced the Internet with a passion. His website is one of the most comprehensive devoted to a single musician. Hampel is also an accomplished painter.
--- Chris Kelsey, All Music Guide |
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