Bergisch-Brandenburgisches Quartett
Live ’82
A trio of West German free music radicals bash heads with an East German saxophonist on this Ayler-meets-Schlager collision of free jazz and folk from the fringes of the '80s Euro experimental world.
In 1980, horn player and accordionist Rüdiger Carl, percussionist Sven-Åke Johansson and violinist/guitarist Hans Reichel teamed up with East German saxophonist Ernst-Ludwig Petrowsky to produce some of the most unusual free music of the era. The Bergisch-Brandenburgisches Quartett was a rare proposition, a band that straddled the Berlin Wall and carved up genre with manic glee, squawking thru funk, R&B, folk and jazz modes using modified guitars, drums, reeds, cuica, folk instruments and flute.
"Live '82" is an enlightening archival find that documents their 1982 performance at Moers festival, a central platform for free jazz in West Germany. Drummer Johansson called the BBQ's music "free postmodernism", and that's completely central to the understanding of this set, that deconstructs recognizable song forms into a wryly wrinkled stream-of-consciousness flow that sounds as hypnotic as Don Cherry and as angular as Albert Ayler. Comes with a bumper collection of archival photographs, flyers and liner notes from Francis Plagne.
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A trio of West German free music radicals bash heads with an East German saxophonist on this Ayler-meets-Schlager collision of free jazz and folk from the fringes of the '80s Euro experimental world.
In 1980, horn player and accordionist Rüdiger Carl, percussionist Sven-Åke Johansson and violinist/guitarist Hans Reichel teamed up with East German saxophonist Ernst-Ludwig Petrowsky to produce some of the most unusual free music of the era. The Bergisch-Brandenburgisches Quartett was a rare proposition, a band that straddled the Berlin Wall and carved up genre with manic glee, squawking thru funk, R&B, folk and jazz modes using modified guitars, drums, reeds, cuica, folk instruments and flute.
"Live '82" is an enlightening archival find that documents their 1982 performance at Moers festival, a central platform for free jazz in West Germany. Drummer Johansson called the BBQ's music "free postmodernism", and that's completely central to the understanding of this set, that deconstructs recognizable song forms into a wryly wrinkled stream-of-consciousness flow that sounds as hypnotic as Don Cherry and as angular as Albert Ayler. Comes with a bumper collection of archival photographs, flyers and liner notes from Francis Plagne.
A trio of West German free music radicals bash heads with an East German saxophonist on this Ayler-meets-Schlager collision of free jazz and folk from the fringes of the '80s Euro experimental world.
In 1980, horn player and accordionist Rüdiger Carl, percussionist Sven-Åke Johansson and violinist/guitarist Hans Reichel teamed up with East German saxophonist Ernst-Ludwig Petrowsky to produce some of the most unusual free music of the era. The Bergisch-Brandenburgisches Quartett was a rare proposition, a band that straddled the Berlin Wall and carved up genre with manic glee, squawking thru funk, R&B, folk and jazz modes using modified guitars, drums, reeds, cuica, folk instruments and flute.
"Live '82" is an enlightening archival find that documents their 1982 performance at Moers festival, a central platform for free jazz in West Germany. Drummer Johansson called the BBQ's music "free postmodernism", and that's completely central to the understanding of this set, that deconstructs recognizable song forms into a wryly wrinkled stream-of-consciousness flow that sounds as hypnotic as Don Cherry and as angular as Albert Ayler. Comes with a bumper collection of archival photographs, flyers and liner notes from Francis Plagne.
A trio of West German free music radicals bash heads with an East German saxophonist on this Ayler-meets-Schlager collision of free jazz and folk from the fringes of the '80s Euro experimental world.
In 1980, horn player and accordionist Rüdiger Carl, percussionist Sven-Åke Johansson and violinist/guitarist Hans Reichel teamed up with East German saxophonist Ernst-Ludwig Petrowsky to produce some of the most unusual free music of the era. The Bergisch-Brandenburgisches Quartett was a rare proposition, a band that straddled the Berlin Wall and carved up genre with manic glee, squawking thru funk, R&B, folk and jazz modes using modified guitars, drums, reeds, cuica, folk instruments and flute.
"Live '82" is an enlightening archival find that documents their 1982 performance at Moers festival, a central platform for free jazz in West Germany. Drummer Johansson called the BBQ's music "free postmodernism", and that's completely central to the understanding of this set, that deconstructs recognizable song forms into a wryly wrinkled stream-of-consciousness flow that sounds as hypnotic as Don Cherry and as angular as Albert Ayler. Comes with a bumper collection of archival photographs, flyers and liner notes from Francis Plagne.
Back in stock - Comes with liner notes from Francis Plagne, with artwork featuring archival photographs and flyers.
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A trio of West German free music radicals bash heads with an East German saxophonist on this Ayler-meets-Schlager collision of free jazz and folk from the fringes of the '80s Euro experimental world.
In 1980, horn player and accordionist Rüdiger Carl, percussionist Sven-Åke Johansson and violinist/guitarist Hans Reichel teamed up with East German saxophonist Ernst-Ludwig Petrowsky to produce some of the most unusual free music of the era. The Bergisch-Brandenburgisches Quartett was a rare proposition, a band that straddled the Berlin Wall and carved up genre with manic glee, squawking thru funk, R&B, folk and jazz modes using modified guitars, drums, reeds, cuica, folk instruments and flute.
"Live '82" is an enlightening archival find that documents their 1982 performance at Moers festival, a central platform for free jazz in West Germany. Drummer Johansson called the BBQ's music "free postmodernism", and that's completely central to the understanding of this set, that deconstructs recognizable song forms into a wryly wrinkled stream-of-consciousness flow that sounds as hypnotic as Don Cherry and as angular as Albert Ayler. Comes with a bumper collection of archival photographs, flyers and liner notes from Francis Plagne.