Globe Unity Orchestra
The Globe Unity Orchestra is an ensemble in the big band format, which has helped shape the European free jazz instrumental tradition and the new improvisation and contemporary music is prescribed.
After the ensemble was occupied relatively narrow in recent years, it has existed since 2006, a relatively large saxophone section ( Evan Parker, E.-L. Petrovsky, G. Dudek, Rudi Mahall, bcl ), trumpet section ( Kenny Wheeler, M. Schoof, Axel Dörner Jean -Luc Cappozzo ) and trombone section ( Paul Rutherford, George Lewis, Jeb Bishop, Hannes Bauer ), Alexander von Schlippenbach (p ) and the two drummers Paul Lovens and Paul Lytton.
History
The Globe Unity Orchestra was created initially for a commissioned composition at the Berlin Jazz Festival in 1966 by the merger of two groups: the Peter Brötzmann Trio on the one hand (next Brötzmann ( saxophone) consisting of Peter Kowald (b, tuba ) and Sven -Åke Johansson ( dr) ) and Manfred Schoof Quintet the (next Schoof (tp ) with Gerd Dudek (ts ); Alexander von Schlippenbach (p); Buschi Niebergall ( b) and Jaki Liebezeit ( d)). The listed in Berlin on November 3, 1966 Schlippenbach composition " Globe Unity " was four weeks later in the studio of Kris Wanders, Willem Breuker and Gunter Hampel extended saxophone set and with vibraphonist Karl Berger, trumpeter Claude Deron, the tuba player William Lietzmann Mani Neumeier and recorded (instead of Johansson ) and published by Saba. The musical director was with the exception of the 1970s, where the formation was reactivated by Kowald, alone with Alexander von Schlippenbach. The list of musicians who belonged over the years to fill the Globe Unity Orchestra is long: Hannes Bauer ( tb ), Anthony Braxton ( as, cl ), Rüdiger Carl ( as, ts ), Günter Christmann (tb ), Jürg Grey ( tp), Toshinori Kondo (tp ), Steve Lacy (ss ), Paul Lovens (drums ), Paul Lytton (drums ), Albert Mangelsdorff (tb ), Evan Parker ( ss, ts), Michel Pilz ( bcl, cl, bars ), Ernst -Ludwig Petrovsky ( as, cl, fl), Enrico Rava (tp ), Paul Rutherford ( tb ), Heinz Sauer ( ss, ts), Bob Stewart ( tuba ), Kenny Wheeler (tp ).
It can be divided three phases: the first from 1966 to 1970 the formation was completely under the influence of new game criteria of free jazz; referred to in the second, also called " Wuppertal phase " because of the substantial interest Kowald (until 1977 ) and classic pieces were (eg the solidarity song by Hanns Eisler, or Wolverine Blues by Jelly Roll Morton ) listed and approved Fluxus elements and with other ensembles played together ( from Rundfunkchor up to the accordion ensemble and Greek folk band). The still ongoing third phase with a reduced formation is dominated almost exclusively by ever changing improvisations rather than fixed compositions and the extensive experience of the jazz musician.
" The improvising processing of these pulses in the large ensemble is a complicated, dependent on numerous factors process, the empirical research largely shut our eyes, and there is still no recipe for the success of an improvised piece. Reduced to such a minimal concept that has arisen in our case by itself and determines the shape, it can then come to an unleashing of improvisational potential, which also addresses the unexpected happens and shows what Bernd Alois Zimmermann, the " utopia of " called. " liberated music