Last available date November 5th

Booking Sergio Merino: s.merino@arcoyflecha.es

JOE McPHEE, brass. KEN VANDERMARK, reeds. MATS GUSTAFSSON, reeds. JOHANNES BAUER, trombone.  PER-AKE HOLMLANDER, tuba and trombone. PETER BRÖTZMANN, reeds. FRED LONBERG-HOLM, cello. KENT KESSLER, bass. MICHAEL ZERANG, drums. PAAL NILSSEN-LOVE, drums.

"I never saw me as a kind of composer. A composer has the work fixed already in his head before it gets played. No, if I work for a larger ensemble and I bring a score or I have an idea, I just discuss that with the guys, and for me, a kind of composition, if it's graphic or if it's traditionally made, can be just a little, let's say, kick to get the guys playing and to keep—to have a beginning and to have an end. But what is in between, the musicians have to develop for themselves. I mean "Machine Gun" is a very structured thing, from the beginning to the end. It's really in a way very traditional: It starts with a figure; it goes on with a Charles Ives theme; it comes at the end to some rock & roll figure. And in between, the solo stuff. So it's nothing very avant-garde; it's a very normal kind of piece.

But a good example is the work with the Chicago Tentet. When we started, we started with scores, with written pieces of paper. And I asked everybody who was interested to write things and bring it, and we tried to do it and we tried to rehearse. And we did that for five years, I think, and Vandermark brought very conventionally written scores, very difficult stuff; we needed a lot of time for rehearsal. I came maybe with a little piece of paper and told the guys, "Do this and that," and all sorts of ideas. But then after five or six years, there was a time when I decided, "Okay, let's throw away all the papers," because I had the feeling that, okay, we are old enough and experienced enough that we'll just try to do it without. And I think it was quite the right decision at the right moment, and the band is really working like hell. It's always risky, because if something goes wrong, the whole shit goes wrong. There's nothing you can repair. But if you have the right concentration, and if you can motivate the guys, then it works fantastic. And in the band, I always was trying to give the guys as much responsibility for the music as I have. I never saw myself as a bandleader. Sometimes you have to say yes or no, but I always try to set things free, to make things possible, to make music possible." Peter Brötzmann at Time Out New York

Chicago Tentet + 1 (Gent, Belgium, 2011)

Bimhuis (Amsterdam, 2011)

http://www.allaboutjazz.com

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