1988 WFM / Akademie der Künste
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It's proper, even within the Free Music Scene, to rejoice at traditions, particularly ones which we ourselves have created. FMP's Free Music Workshop was the second important milestone in our quest to create an adequate forum for presenting improvised music, preceded only by the Total Music Meeting. This year, for the twentieth time since that first Easter Weekend in 1969 (when, incidentally, the controversial juxtaposition of Free Jazz groups with the Alexis Korner Blues Group led to aggressive, even violent reactions from the audience), we proudly present the 1988 Free Music Workshop in its traditional five-day format, this year not at Easter, but from May 4 to May 8, with an extra Bonus Concert scheduled for May 11. The 1988 Workshop is entitled "Saxophones", and will display the expressive palette of an ensemble-form that, particularly among younger players, is generating growing interest. "Saxophones" presents eight saxophone groups with widely varying stylistic roots. Seven of the eight groups will appear twice, each time in a different programming context. The "Netherlands Saxophone Quartet" comes out of a strictly non-improvisatory classical tradition. Their close relative, "The Berlin Saxophone Quartet", also continues in the classical tradition, but takes on an extremely wide repertory, including some pieces requiring improvisation. A more straight-ahead Jazz approach - assuming such a beast exists - is exemplified by the "Cologne Saxophone Mafia" as well as the "29th Street Saxophone Quartet". The English "Itchy Fingers", in contrast, are representative of the young English scene, and partake of Pop, Funk, Bop and, Slapstick; the most famous example of this approach is probably the Loose Tubes. A hefty portion of Slapstick might also shimmer forth when the Swedish Group "Position Alpha" plays; of all the groups performing, "Position Alpha" is the most deeply rooted in the European Jazz tradition. Finally, the "Rova Saxophone Quartet" is the best known of this year's guest ensembles; their music lies somewhere between New Music and Free Improvisation. For five evenings in a row, three of these groups will perform each night on the stage of the Akademie der Künste. Now, take note: On the last evening of the Workshop, the exhibition hall in the Akademie is going to look like an international delegation rehearsing to make the walls of Jericho come tumbling down - this time with curved horns, however. We've commissioned "Butch Morris", the New York cornetist and composer, to compose a work for twenty-nine saxophonists, and on the last evening of the Workshop, the members of seven of the ensembles will stand together on the stage and give Butch's piece a blow. At the very last, this will be an optical treat! Most saxophonists usually travel with three or four "saxes"; multiply that times twenty-nine and you'll agree with the sight of all that shining metal will be something you won't forget for a long time to come. Let's not even think about how great it's going to sound… The additional Bonus Day of the Anniversary Workshop has been reserved for a concert by the "Raschèr Saxophone Quartet". Sigurd Raschèr was an important pioneer and innovator in the field of reed instruments; he discovered the overtone scales, an essential part of contemporary playing; former students such as Sonny Rollins have elevated Raschèr's technique of over blowing to an indispensable, powerful means of expression. Raschèr's daughter Carina, who began playing in her father's Quartet when he was still alive, has also continued her father's work after his death. The "Raschèr Saxophone Quartet" is not a Jazz group; drawing on a rich tradition, it gives priority to New Music; instead of jazz you'll be hearing classical contemporary music, by composers such as lannis Xenakis, for example. Translation: Daniel Werts from: Booklet “improvised music” by Free Music Production (FMP), 1988 |
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