After finishing my contribution to the late work of Ernst-Ludwig Petrowsky by organizing some trios and the three great quartets called Tumult! Karwall! Rabatz! (2013-15) I was thinking of formulating a new chapter of my adventurous vast ensemble E U P H O R I U M _ f r e a k e s t r a. Considering the forthcoming cast soon I began to feel very happy. I just had discoverd that although sharing all main production spaces of the international improvised music scene for over forty years my ancient buddy Baby did never before share a concrete bandstand with Barry Guy! Familiar with the specific personal performances of both men it was obvious that we had missed indeed a dream team of that sort of drum’n’bass combined forces in Free Jazz music spheres so far. On a splendid 16th december iin 2016 my task became fullfilled. Besides their very first meeting at the edge of the electric organist Daniel Beilschmidt (listen to the opener of the 3-CD-Opus Grande Casino!) they also played a very nice piece within a trio featuring myself on the extended grand piano (Interflug/Intershop). Hence scheduled a whole concert set for the piano trio setting in the next year we had to deal with an adjournment. The original date had to be canceled because of health problems of Maya Homburger, Barry’s well-esteemed wife. One year late everything was fine – listen!
On my own accout I additionally want to note some facts why I am sounding like that: besides the experience of the full decade of interplay with Petrowsky and Christian Lillinger as well as the two duos I did with Baby in 2011 and 2017 (the latter instead of the planned trio with Barry) the grand piano parts presented here summarize three other turbo blowing ingredients of increased possibilities: 1st my intense solo studies in 2015 (Prestige/No Smoking and Storming Bauhaus), 2nd the preparation for and the performance of the trio/quintet concert with Peter Broetzmann in 2017 (Biturbo!, Karacho!) and, 3rd, the preparation for the trio/quintet concert with Akira Sakata in 2018 (once to be released as Siren, Sticks & Circus and Tornado!) which was scheduled directly the day after the music documented with the album you’re holding in your hands now! So on that evening Sakata had just arrived form Japan and had already taken seat in the auditorium as Maya was becoming very enthusiastic about the set growing. And directly in front of us Hans-Juergen Noack one of the main figures of the second generation of GDR jazz artists was sitting in the legendary first row of the naTo keen on experiencing our music for musicians. But take a chance by yourself to let it in. This fine documentation of our interplay will always be a pleasure.weiterlesen
