Music Program

Wednesday, October 4, 2006


Co-sponsored/co-presented by:
Resurrection Music

Peter Brötzmann / Han Bennink Duo


Presented at:
Soundlab 110 Pearl St. Buffalo

Peter Brötzmann (clarinet, saxophones)
Han Bennink (drums)

Saxophonist Peter Brötzmann and drummer Han Bennink. The two free music masters have a long history, first in Brötzmann's large projects, notably the 1968 Machine Gun. A trio with Belgian pianist Fred Van Hove grew out of these collaborations. But in 1976 the two free music masters began work as a duo releasing a series of recordings, concluding with 1980's Atsugi Concert. They weren't heard from again “on wax” until Brötzmann booked a series of performances in early 2004 with the explicit intention of capturing the performances for later release. The result, Still Popular After All Those Years was issued on vinyl on Brötzmann's own resurrected BRO label later that same year.

Brötzmann was involved with the Fluxus movement, but grew dissatisfied with art galleries and exhibitions. He has designed most of his own album covers. He first taught himself to play clarinet, then sax. One of his first musical partnerships was that with with bassist, Peter Kowald. In the 1980s, he flirted with heavy metal and noise rock, including a stint in Last Exit. He has released over thirty albums as a bandleader, and has appeared on dozens more. His “Die Like A Dog Quartet” (with Toshinori Kondo, William Parker and Hamid Drake) is loosely inspired by saxophonist Albert Ayler, a prime influence on Brötzmann's music. Since 1997 he has toured and recorded regularly with the Peter Brötzmann Chicago Tentet (initially an Octet).

Through the 1960s, Bennink drummed with American musicians visiting the Netherlands, including Eric Dolphy, Dexter Gordon and Sonny Rollins. He became a central figure in the emerging European free improvisation scene, co-founding the Instant Composers Pool in 1967 with Misha Mengelberg and Willem Breuker. Through much of the 1990s he played in Clusone 3 with saxophonist and clarinetist Michael Moore and cellist Ernst Reijseger. His style is wide-ranging, running from conventional jazz drumming to highly unconventional free improvisation, for which he often uses whatever objects happen to be onstage (chairs, music stands, instrument cases), his own body (a favorite device involves putting a drumstick in his mouth and striking it with the other stick), and the entire performance space—the floor, doors, and walls.

Some publications related to this event:
September, 2006 - 2006
October, 2006 - 2006

t: 716-854-1694
f: 716-854-1696

Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

from Jan. 10, 2020
through Feb. 28, 2020

Sarah Sutton
Knots and Pulses

This exhibition by Ithaca-area artist Sarah Sutton will feature a series of monochromatic oil paintings that combine representational imagery with distortions and abstractions that create scenarios in flux. They are essentially landscape paintings, but Sutton's treatment of the landscape toys with its sense of space and the notion of the built vs. the natural environment.

Katie Bell
Abstract Cabinet

Katie Bell’s exhibition is a site-specific installation conceived of as a one-act drama starring anonymous artifacts. Functioning like a theatrical set, the gallery holds static characters that reference the interior architecture of corporate and commercial spaces. Sculptural objects are often fractured or untethered to a contextual structure. Functioning as a whole, the individual artefacts are a nod to players on a stage, held captive in space and time.