(Free Jazz) Manfred Schoof Orchestra - European Echoes - 2002, FLAC (tracks+.cue) lossless

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Manfred Schoof / European Echoes
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REM GENRE "Free Jazz"
REM DATE 1969
REM DISCID 13073902
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Manfred Schoof"
TITLE "European Echoes"
FILE "01 - European Echoes Part 1.wav" WAVE
  TRACK 01 AUDIO
    TITLE "European Echoes Part 1"
    PERFORMER "Manfred Schoof"
    INDEX 01 00:00:00
FILE "02 - European Echoes Part 2.wav" WAVE
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    TITLE "European Echoes Part 2"
    PERFORMER "Manfred Schoof"
    INDEX 01 00:00:00

German trumpeter Manfred Schoof, whose work in the '60s focused on the possibilities of the big band in a free jazz context, presented a half-hour free improvisation for German radio in June 1969 that was later released by the FMP label as European Echoes and still later unearthed by Atavistic as part of their estimable Unheard Music reissue series. European Echoes is primarily of interest to free jazz historians and fanciers of the extreme. The historians will be dazzled by the all-star lineup of this 16-member band, featuring guitarist Derek Bailey, saxophonists Evan Parker and Peter Brötzmann, and pianists Fred Van Hove and Alexander von Schlippenbach, all of whom would lead landmark avant jazz sessions of their own. But will the noiseniks be? Well, let's just let the figures speak for themselves: three trumpets, three saxes, two trombones (one of whom doubles on bass), Derek Bailey's proto-Sonic Youth freak-out guitar, three pianos, two dedicated bassists (besides the guy who's doubling on bass trombone), and two drummers. All of them going at it full tilt for close to 15 minutes before breaking off into their instrumental groupings for no-less-intense duos and trios. It sounds like it should be a free jazzer's paradise, and there's no denying that the intensity level throughout is amazingly high. The problem is that this enormous band, playing at top volume, is simply too much for the less-than-top-line recording gear that was capturing all this, and for frustratingly long periods (especially in the piece's unison first section), it's all but impossible to pick out what are obviously some inspired individual performances. Schoof may well argue that this was the point, of course.

The very first release on the German free jazz label FMP, recently reissued by Atavistic as part of its Unheard Music Series, was trumpeter Manfred Schoof’s European Echoes. In June of 1969, Schoof convened some of the leading lights of the emerging European free music scene for this radio project, heard here in its entirety. What is striking is the density of the instrumentation (consisting of three trumpets, three saxophonists, three pianists, three bassists, two drummers and trombonist Paul Rutherford), the elasticity of the written/improvised passages, and the remarkable solo talents of these improvisers.
Part one of the long piece which constitutes this recording opens with the relentless tom and cymbal interplay of Han Bennink and Pierre Favre, who lay a foundation for bassists Arjen Gorter, Peter Kowald and Buschi Niebergall; guitarist Derek Bailey’s savage left-field notions comprise the first solo spot. Bailey’s cascades eventually become part of the fabric of the furious rhythmic drive which, after brief written ensemble parts, allows Evan Parker, on soprano, to provide glimpses of his future trademark style. Paul Rutherford’s individualistic sound emerges next, with judicious multiphonic use—and, as one might predict, Peter Brötzmann’s solo spot sears forth like a fighter jet screaming across the horizon. Riding Brötzmann's zeal, Enrico Rava is the first of the trumpets to take a solo, with Bennink and the rhythm section propelling the proceedings forward. At the conclusion of “Part One,” the pianists (Schlippenbach, Van Hove and Schweizer) go it alone and engage in a curious and intense interplay.
At this point, it is worth mentioning that both sections of the piece are woven together seamlessly, and thus, after the pianos, Favre and Bennink are free to take their rollicking, crackling drumplay to gale force levels without interruption. The bassists have their turn next, bouncing around like lottery balls waiting for selection. Gerd Dudek adds a forthright solo before trumpeters Hugh Steinmetz and the leader add their parting remarks. The sound quality is certainly muddy at times, but perhaps one could view that as part of the thick stew that makes up this work. Some also might complain that at 30:51, the record is a tad brief, but I found that the short running time allowed for a deeper consumption of its unrelenting intensity. This is mandatory listening for folks interested in a large sound.

(…) On the other hand, nearly every one of the 16 musicians present gets some solo space on European Echoes, another of Atavistic's FMP Archive Edition, recorded two months after Schlippenbach's CD under Schoof nominal leadership.
It seems nominal because a soon a the first drum beats echo through the studio, by means of the dual percussion of Bennink and Swiss drummer Pierre Favre, it's obvious that this almost 32-minute composition is going to be some wild ride. Appropriately named, the disc features all the player on the first CD save Pilz plus Parker and German tenorist Gerd Dudek on saxophones; Italian Enrico Rava and Dane Hugh Steinmetz on trumpets; Fred Van Hove from Belgium and Irène Schweizer from Switzerland on pianos; British guitarist Derek Bailey and bassists Peter Kowald from Germany and Arjen Gorter from Holland.
With the examples of controlled chaos that other large ensembles like New York's The Jazz Composer's Orchestra, GUO and Brötzmann's "Machine-Gun" band already created, this disc is most valuable providing aural views of important EuroImprovisers early in their career. Diffident Bailey, for instance, creates some wild, almost rock-oriented electric picking here with such vigor that it overwhelms the dual drummers. A far cry from his present persona as a balladeer, Rava produces some brassy, Don Ayler-like shakes. Meanwhile the triple keyboardists seem to be reconstituted as Cecil Taylor triplets, although during the course of the piece, one -- likely Schweizer -- offers up some inside piano harp glisses, along the lines for which she would later be better known.
Another small big band session that may have been on everyone's mind at the time was John Coltrane's less-than five-years-old Ascension. Facing off against one another with cymbals and snares, flams, press rolls and march beats, Favre and Bennink are no Rich vs. Roach but suggest Elvin Jones times two. Additionally, some of the piano chording relates more to McCoy Tyner's work with Trane than Taylor's. All three trumpeters appear to be trying to see who can squeal the highest in bugle range as the theme is elaborated, though the plucked bass parts -- when they surface from the din -- may be more advanced than what Art Davis and Jimmy Garrison played on Ascension. Dudek, Parker Brötzmann too generate enough screaming split tones to match Trane's, Archie Shepp's and Pharoah Sanders' multiphonics on Ascension, often spitting out several bent notes simultaneously. Finally, as musical shards explode all over like bombs at an anarchist rally, the massed ferment builds to a combative crescendo, ending with the sustained single cymbal echo.
Too young or distanced to have experienced the excitement of 1960s' free jazz? These two discs are the next best thing to being there.