Peter Brötzmann三重奏

Peter Brötzmann Trio

德国 Germany / 日本 Japan / 美国 U.S.A.

时间 Time

2015.10.18 21:20 – 22:20

场地 Venue

华侨城创意文化园北区B10现场 B10 Live, North District of OCT-LOFT

演出者 Artists

Peter Brötzmann – 中音萨克斯 Alto Saxophone / 次中音萨克斯 Tenor Saxophone / 降B调单簧管 Bb-Clarinet / Tárogató

丰住芳三郎 Sabu Toyozumi – 鼓 Drums / 二胡 Erhu

Jason Adasiewicz – 颤音琴 Vibraphone

Peter Brötzmann

Peter Brötzmann年轻时在伍珀塔尔学习油画，并参加了激流派运动[1]，但他对当时画廊和展览的状况很不满意。还在学校的时候，他经历了第一次真正的爵士现场——美国爵士萨克斯手、单簧管手和作曲家Sidney Bechet的演出，并给他留下了很深的印象。

一开始他自学了很多种单簧管，后来又转学萨克斯风，在演奏tárogató[2]上也颇有造诣。低音提琴手Peter Kowald是他第一个合作的乐手。不过Brötzmann从来没有放弃过艺术训练，他的专辑封面大多数都是他自己设计的。

Brötzmann的第一张专辑《For Adolphe Sax[3]》发行于1967年，他与Kowald和鼓手Sven-Åke Johansson合作完成。在欧洲政治动乱的1968年，专辑《Machine Gun》面世，这张八重奏唱片常被认为是最杰出的自由爵士专辑之一。1969年，Brötzmann携参与《Machine Gun》的众多音乐家——包括鼓手Han Bennink、钢琴家Fred Van Hove和次中音萨克斯手Evan Parker，加上英国即兴吉他手Derek Bailey，一起录制了《Nipples》。他们的下一张唱片顺理成章地叫作《More Nipples》，比前作更加刺耳。

因为多人乐团在运作巡演时都会因为阵容过于庞大遇到很多困难，因此Brötzmann逐渐把他的乐团缩减为与Han Bennink和Fred Van Hove合作的三重奏。前者还和Brötzmann合作了发行于1977年的《Schwarzwaldfahrt》，一张在德国黑林山的深林里录制的二重奏专辑——Brötzmann吹奏萨克斯，而Bennink用树木和树林里找到的其他物件演奏打击乐。

随后Brötzmann也曾重走多人乐团之路。在1981年，他与萨克斯手Frank Wright、Willem Breuker，小号手近藤等則（Toshinori Kondo），长号手Hannes Bauer、Alan Tomlinson，钢琴家Alexander von Schlippenbach，鼓手Louis Moholo和贝斯手Harry Miller一起做了一档电台节目，该节目随后被灌制成专辑《Alarm》发行。

Brötzmann一直保持着活跃度，定期举行巡演和录制唱片。他迄今以乐团领袖的身份发行了超过50张唱片，参与录制的唱片数量则更多。

[1] 激流派运动：1960年代盛行在欧美的前卫艺术运动。源于达达主义的反保守主义观念，衍生出一种新的艺术——非艺术。艺术家们不去创作绘画和物件，反音乐，反诗歌，而去表现处于初始状态的生活片段。认为一切皆艺术。

[2] Tárogató：一种在匈牙利和罗马尼亚民族音乐中常见的管乐器。

[3] Adolphe Sax：阿道夫·萨克斯，比利时音乐家，发明了萨克斯管。

网站 http://www.peterbroetzmann.com

脸书 https://www.facebook.com/pages/Peter-Brötzmann/40613690752

丰住芳三郎（Sabu Toyozumi）

1943年，丰住芳三郎在日本横滨市鹤见区出生。1953年，10岁的丰住芳三郎加入一支仪仗队（有横笛和鼓）。4年后，他开始和朋友玩乐队，那个时期他热衷演奏各种不同的乐器。1960年，丰住芳三郎立志成为职业乐手。

几十年间，丰住芳三郎巡游世界。周游列国的历练加上与国内保持密切联络令丰助芳三郎与许多杰出音乐家/艺术家都有过合作，其中包括吉沢元治（Motoharu Yoshizawa）、高柳昌行（Masayuki “Jojo” Takayanagi）、高木元辉（Mototeru Takagi）、Chales Mingus、Anthony Braxton、Alan Shorter、Rafael Garrett、诗人白石嘉寿子（Shiraishi Kazuko）、舞踏大师大野一雄（Kazuo Ohno）、Johannes Bauer、Peter Brötzmann、Hans Reichel、Fred van Hove、Misha Mengelberg、Derek Bailey、Wadada Leo Smith、Paul Rutherford、John Russell、Sunny Murray等等。

在所有的合作中，尤为令人津津乐道的，当属他与早逝的萨克斯風手阿部薰（Kaoru Abe）的《Overhang-Party》。

2012年，年将70岁的丰住芳三郎，还出人意料却又并不令人意外地与老牌日噪团体“非常阶段（Hijokaidan）”进行了爵士与噪音的“mix”。

2014年1月，丰住芳三郎首度在中国进行巡演（曾作为游客来过上海、北京、西安等城市）。

丰住芳三郎很喜欢动物。

脸书 https://www.facebook.com/sabu.toyozumi

Jason Adasiewicz

Jason Adasiewicz是一位成长于自芝加哥郊区水晶湖的年轻爵士颤音琴演奏家。

“Jason Adasiewicz的琴声在天际闪烁。他是芝加哥的中流砥柱，从他对和声与旋律极具天赋且特别的追求里可以听出来他是一个对声音的震动有深刻感知的真正有创见的乐手。他炙热激烈的即兴表演和紧凑美妙的演奏点亮了他的音乐历程。”

——Rob Mazurek（美国）

网站 http://jasonadasiewicz.com

Peter Brötzmann

He studied painting in Wuppertal and was involved with the Fluxus movement[1], but grew dissatisfied with art galleries and exhibitions. He experienced his first real jazz concert when he saw American jazz musician Sidney Bechet[2] while still in school at Wuppertal, and it made a lasting impression.

He first taught himself to play various clarinets, then saxophones; he is also known for playing the tárogató. Among his first musical partnerships was that with double bassist Peter Kowald. He has not abandoned his art training, however: Brötzmann has designed most of his own album covers.

“For Adolphe Sax[3]”, Brötzmann’s first recording, was released in 1967 and featured Kowald and drummer Sven-Åke Johansson. 1968, the year of political turmoil in Europe, saw the release of “Machine Gun”, an octet recording often listed among the most notable free jazz albums. The album “Nipples” was recorded in 1969 with many of the “Machine Gun” musicians including drummer Han Bennink, pianist Fred Van Hove and tenor saxophonist Evan Parker, plus British free-improv guitarist Derek Bailey. The second set of takes from these sessions, appropriately called “More Nipples”, is more raucous.

The logistical difficulties of touring with the mutli-player bands resulted in Brötzmann eventually slimming the group to a trio with Han Bennink and Fred Van Hove. Bennink was also partner in “Schwarzwaldfahrt”, an album of duets recorded outside in the Black Forest in 1977 with Brötzmann’s sax and Bennink drumming on trees and other objects found in the woods.

Larger groups were put together again later, for example in 1981 Brötzmann made a radio broadcast with Frank Wright and Willem Breuker (saxes), Toshinori Kondo (trumpet), Hannes Bauer and Alan Tomlinson (trombones), Alexander von Schlippenbach (piano), Louis Moholo (drums), Harry Miller (bass). This was released as the album Alarm.

Brötzmann has remained active, touring and recording regularly. He has released over fifty albums as a bandleader, and has appeared on dozens more.

[1] Fluxus movement: An international network of artists, composers and designers noted for blending different artistic media and disciplines in the 1960s. Fluxus encouraged a “do-it-yourself” aesthetic, and valued simplicity over complexity. Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice.

[2] Tárogató: A kind of woodwind instrument commonly used in both Hungarian and Romanian folk music.

[3] Adolphe Sax: Belgian musician, inventor of the saxophone.

Website http://www.peterbroetzmann.com

Facebook https://www.facebook.com/pages/Peter-Brötzmann/40613690752

Sabu Toyozumi

Born in 1943 in Tsurumi, Yokohama, Yosashiburo “Sabu” Toyozumi joined a drum and fife marching band in 1953. Four years later, he started to play in a band with friends and liked to play many different instruments.

Since 1960, the year in which he decided to become a professional musician, he has travelled to various countries. Along his travels, and back home in Japan, Sabu has been playing free improvisation with incredible musicians such as Motoharu Yoshizawa, Masayuki “Jojo” Takayanagi, Mototeru Takagi, Chales Mingus, Anthony Braxton, Alan Shorter, Rafael Garrett, Kazuko Shiraishi, butho master Kazuo Ohno, Johannes Bauer, Peter Brötzmann, Hans Reichel, Fred van Hove, Misha Mengelberg, Derek Bailey, Wadada Leo Smith, Paul Rutherford, John Russell, Sunny Murray… and many more.

Most famously, Sabu has played with Kaoru Abe until Abe’s passing in 1978, and they released the album “Overhang-Party”. The duo was regarded at the time as the most powerful and intense music coming out of Japan.

Sabu loves animals a lot.

Website https://www.facebook.com/sabu.toyozumi

Jason Adasiewicz

Jason Adasiewicz is a young virtuosic jazz vibraphonist growing up in Crystal Lake, a suburb of Chicago.

“Jason Adasiewicz’s vibes shimmer in the ether. A Chicago mainstay, Jason is a true original with a deep sensibility for sound vibration that can be heard through his innate and idiosyncratic approach to harmony and melody. Jason’s musical history is spiked with fervent free improvisation and tight melodic rendering.”

— Rob Mazurek (US)

Website http://jasonadasiewicz.com

秋山徹次 & Giovanni Di Domenico

Tetuzi Akiyama & Giovanni Di Domenico

日本 Japan / 意大利 Italy

时间 Time

2015.10.18 20:00 – 21:00

场地 Venue

华侨城创意文化园北区B10现场 B10 Live, North District of OCT-LOFT

演出者 Artists

秋山徹次 Tetuzi Akiyama – 电吉他 Electric Guitar / 改良循环磁带 Modified Tape Loop

Giovanni Di Domenico – 钢琴 Piano / 电钢琴 Fender Rhodes

秋山徹次（Tetuzi Akiyama）

1964年4月13日生于东京。

秋山徹次善于利用吉他的特质，通过与自己内心深层的欲望进行对话，创作出兼具原始主义与写实主义元素的音乐，并往往以一种尽可能简练而直接的方式呈现出来。时而细致优雅，时而大胆狂放，从微小到宏大，他自如地控制着音量，试图将自己的身体也转换成一个电子实体。

网站 http://www.japanimprov.com/takiyama/

Giovanni Di Domenico

Giovanni Di Domenico，1977年出生于罗马，钢琴家、表演者、作曲家。

由于他的父亲是被派驻海外的土木工程师，在十岁以前他都随父在非洲生活。他在利比亚生活至5岁，后移居喀麦隆生活了3年，而后再迁至阿尔及利亚生活直到10岁。由于他远离故乡，生活中并没有遇到太多社会动荡，反而是歌剧咏叹调给他和他的兄弟姐妹们留下了深刻记忆。他们自幼吟唱，既可以学习语言，又是一项很好的家庭娱乐活动。自小在国外生活的经历对他的成长有着深刻的影响，他能够清晰地回忆起这些声音：宣礼吏在宣礼塔上唱的召祷歌，召集信徒做祷告的呼唤；从当地市场传来的异国乐器的声音；弥漫在雅温得（Yaoundé, 喀麦隆首都）街道的宗教仪式音乐；从喀麦隆保姆口中听来的当地歌谣……

Giovanni Di Domenico进入音乐学院后主修爵士钢琴，继续塑造和磨练他熟练高深的技巧。他在节奏、和声和音调上虽受到非西方传统的影响，但也同样对这些有着敏感的触觉：德彪西（Debussy）的《前奏曲（Préludes）》、贝里奥（Luciano Berio）的《模进（Sequenzas）》、Borah Bergman在Soul Note厂牌下的作品中展示的ambi-ideation[1]技巧，Cecil Taylor密不透风的疯狂演奏，以及Paul Bley那布满伤痕的透明感，当然，还有那些来自地下流行乐的最激进的表现……这些都深刻地影响了他个人的创作。在他的身上，有着一种具有时代意义的特质，而近年来他也与众多拥有着相同特质的优秀音乐家进行过合作，包括Nate Wooley、Chris Corsano、Arve Henriksen、Jim O’Rourke、坂田明（Akira Sakata）、Alexandra Grimal、秋山徹次（Tetuzi Akiyama）、João Lobo和中村延和（Toshimaru Nakamura）等。

他建立了自己的唱片品牌Silent Water，致力于创作和发行电子及其他风格多元的音乐。他现居于布鲁塞尔。

[1] ambi-ideation：Borah Bergman是一位前卫的爵士钢琴手。他最为人所知的出色能力便是ambi-ideation，即双手均能即兴创作和独立演奏，而不是一般的左手为右手伴奏。人们常能从他的演奏中同时听到两种不同的旋律线。

网站

http://giovannididomenico.com/

http://www.silentwaterlabel.com/

Tetuzi Akiyama

Born in Tokyo, April 13, 1964.

Akiyama specializes in creating music with elements of both primitivism and realism by connecting his own aspirations, in a minimal and straightforward way, to the special instrumental qualities of the guitar. Sometimes delicately and sometimes boldly, he controls sound volumes ranging from micro to macro, in an attempt to convert the body into an electronic entity.

Website http://www.japanimprov.com/takiyama/

Giovanni Di Domenico

Pianist, performer, composer, was born in Rome on the 20th July 1977.

Following his father’s consecutive assignments as a civil engineer he actually lived out his first decade in Africa – until he was five in Libya, from then until his eighth anniversary in the Cameroons and until ten in Algeria. His far off native country was not synonymous with civil unrest as much as with opera, whose arias he would memorize with his siblings in order to practice the language and provide some family entertainment. The condition of expatriate had a strong influence on his education – he clearly remembers the calls of the muezzin, the sound of exotic musical instruments in local markets, the ritualistic expression music took in the streets of Yaoundé, or the songs he heard from his nanny in the Cameroons.

When he finally enrolled in music school — majoring in “jazz piano” — he further built on an encyclopedic technique; rhythm, harmony and tone are informed by non-western traditions yet equally sensitive to Debussy’s “Préludes”, Luciano Berio’s “Sequenzas”, to the “ambi-ideation” heard in Borah Bergman’s Soul Note recordings, Cecil Taylor’s polissemic density, Paul Bley’s bruised transparency and of course, the most radical manifestations stemming from the underworld of pop music, invariably tied together by his own original praxis. A distinction – one would call it generational – he shares with many of the musicians he has crossed paths with recently, of which we could enumerate Nate Wooley, Chris Corsano, Arve Henriksen, Jim O’Rourke, Akira Sakata, Alexandra Grimal, Tetuzi Akiyama, João Lobo or Toshimaru Nakamura. Di Domenico has founded his own label, Silent Water, home of an eclectic and occasionally unclassifiable production. He lives in Brussels.

[1] ambi-ideation: Avant garde jazz pianist Borah Bergman was well known for his “ambi-ideation” technique, where he trained his left hand to be as dextrous as his right when playing.

Website

http://giovannididomenico.com/

http://www.silentwaterlabel.com/

Peter Brötzmann纪录片：《Rough Peter Brötzmann》

Documentary of Peter Brötzmann: Rough Peter Brötzmann

时间 Time

2015.10.18 14:00 – 16:00

场地 Venue

华侨城创意文化园北区A3+ A3+, North District of OCT-LOFT

影片信息 Movie Information

导演 Director：Peter Sempel（德国 Germany）

时长 Length：98 mins

年份 Year：2014

语言 Languages：德语 German / 英语 English

字幕 Subtitles：英文 English

影片简介

《Rough Peter Brötzmann》——一部从伍珀塔尔到中国的爵士漫游。

影片是对Peter Brötzmann——一个在音乐和艺术上始终坚持自己道路的男人的个人观察。

Brötzmann已在探寻艺术的路上超过50年了，有些人说他是疯子，也有另外一些人尊称他为“自由爵士的教父”。他年轻时受过美术训练，受到激流派运动的影响，从喷薄的狂野到精致的梦幻，他构筑了属于自己的即兴音乐世界。他是一个用萨克斯风、单簧管和Tárogató吟唱的诗人。他就是爵士。

《Rough Peter Brötzmann》的摄制组跟随Brötzmann去到了世界各地大大小小的演出现场——在那些现场与他同台的，通常都是各个国家最杰出的音乐家——欧洲的汉堡、柏林、华沙、伦敦和雷姆沙伊德，美国的纽约、芝加哥和旧金山，以及中国深圳，还拜访了Brötzmann位于伍珀塔尔的家，同时也是他的工作室，一个带有花园的小小房子，非常局促，却也古怪有趣。镜头里的Peter Brötzmann，是一个安静的、冷幽默的、认真思考的艺术家。

导演Peter Sempel用直接电影[1]的手法进行拍摄：他跟随音乐家超过10年，从非常不同的、各种可能或不可能的角度呈现音乐家在自己世界里的模样——无数的瞬间、想法、愉悦与痛苦的能量、迷惘、忧郁、起伏，一切喧闹或柔软的、静默的、沉思的、简单的、复杂的……没有逻辑，也没有解释或旁白。非常直接，也非常爵士。

Brötzmann本人和鼓手Michael Wertmüller对电影有一致的评价：“这是一部与众不同的电影——它更像一部爵士作品，而不是’普通’的纪录片。”

Rainer Bratfisch在《Jazz Podium》杂志里写道：“这部影片不是纪录片，它更像是流动着画面的音乐……它展现了Peter Brötzmann找寻最纯粹的音乐的旅途。”

导演简介

出于对音乐的热爱， Peter Sempel自1981年就成为了电影制作人。

Peter Sempel 1954年生于德国汉堡，半年后移居澳大利亚，生活在内陆的蓝山附近，那里不供电，也没有自来水，但却有一台收音机。他家里有自己的马，但没有自行车，花园里还有一只袋鼠。他那时候经常被嘲笑为“小纳粹猪”。

1968年回到汉堡，他自学参加了Abitur（德国中学结业考试），随后在汉堡大学修美国文学（主攻爱伦坡和马拉默德）和哲学教育，曾经做过56份不同的工作。

1981年因为对音乐——尤其是对倒塌的新建筑乐队（Einstürzende Neubauten）、Nick Cave和古典音乐（莫扎特、舒伯特等）的喜爱，Sempel开始制作电影。他最喜欢的摇滚专辑是Lou Reed的《Berlin》。70年代末到80年代，经常会跑去汉堡和柏林剧院，在同一个晚上连着看歌剧、芭蕾舞和朋克演出。他也为音乐杂志撰稿，因此结识了不少艺术家朋友。

自那之后，在歌德学院的支持下，他便亲自带着他的电影奔走于德国、欧洲，乃至世界各地，包括各种艺术节和活动、院线内外、迪斯科等等，而且通常都会为观众设置问答环节。这些活动也常受到歌德学院的支持。在德国，大部分他的电影由Pandora、Silver Cine和Neue Visionen进行分销，也会在3sat和Arte等电视台播放。

[1] 直接电影（Direct Cinema）：一种现场拍摄、非虚构、细观的电影类型，产生于上世纪60年代初的美国，主张摄影机永远是旁观者，不干涉、不影响事件的过程，永远只作静观默察式的记录，排斥一切可能破坏生活原生态的主观介入。

Introduction of the Documentary

“Rough Peter Brötzmann” — a Jazz-Odyssey, from Wuppertal To China.

Personal observations of a man who has always gone his very own way in music and art: Peter Brötzmann.

He’s been on the road for over 50 years, is described as mad by some and as the “Godfather of free jazz” by others. He had studied Art, and influenced by Fluxus, he created his own improvisational music world, from violent outbursts to delicate, dreamlike fantasies; a poet with saxophone, clarinet and tárogató. Jazz.

“Rough Peter Brötzmann” accompanies the musician at concerts, in big and small places — together with other fascinating musicians, often the best of their country — in Hamburg, Berlin, Warsaw, London, Remscheid, New York, Chicago, San Francisco and Shenzhen and visits him at home in his little garden house and studio in Wuppertal, very intense, also funny and strange. Peter Brötzmann showed as a quiet, dry-humored, thoughtful artist.

Peter Sempel films in a “Direct-Cinema[1]” way: he follows (over 10 years) and shows the musicians in their world, in very different angles, all possible and also impossible angles, many different moments, thoughts, energies of joy and pain, lostness, melancholy, ups and downs, loud and soft, quiet, thoughtful, simple and complex, often without logical sense, and without explanations (no voiceover), very direct, jazz.

Peter Brötzmann, and drummer Michael Wertmüller, both say, “This film is different — it’s more like jazz, than a ‘normal’ documentary.”

In “Jazz Podium” Rainer Bratfisch writes, “…this film is not a documentary, it’s more like music of/with flowing pictures… and shows Peter Brötzmann on his journey to purest music.”

Introduction of the Director

FILMMAKER since 1981, because of MUSIC.

Peter Sempel was born in 1954 in Hamburg, soon emigrated to Australia half year later, and grew up in the outback, near the Blue Mountains, there was no electricity, no running water out of wall, but a radio. His family had their own horse, but no bicycle, and a kangaroo in the garden; and he was often teased as a little German “nazipig”.

Back to Hamburg 1968. After taking the Abitur at a school-leaving status, he studied American literature (E.A. Poe, Malamud) and physical education at Hamburg-University, had 56 different jobs.

Semple started making films 1981 because of music, especially Einstürzende Neubauten, Nick Cave and classical music (Mozart, Schubert etc..), his favourite rock-record is “Berlin” by Lou Reed. From the end of the 70s and in the 80s, he often went to opera, ballet and then punk concerts at the same evening, mainly in Hamburg and Berlin. He also wrote for music magazines, and became friends with artists.

Since then he carries his films through Germany, Europe and around the world and presents personally his films at festivals, special events, in off-cinemas, discos and all kinds of places, often with Q&A , and often supported by Goethe-Institute. In Germany most of his films were distributed by Pandora, Silver Cine, and Neue Visionen, and shown in TV-3sat, and TV-Arte.

[1] Direct Cinema: A documentary genre that originated in early 1960s in America. It was characterized initially by filmmakers’ desire to directly capture reality and represent it truthfully, and to question the relationship of reality with cinema.

网站 Website

http://www.sempel.com/