Leo Smith, Peter Kowald, Günter Sommer - Touch The Earth

Leo Smith, Peter Kowald, Günter Sommer - Touch The Earth (Amiga, 1979)

Leo Smith: trumpet, flugelhorn, mbira
Peter Kowald: bass
Günter Sommer: drums, percussion, organpipes

1. Gebr. Loesch
2. Touch The Earth
3. Wind Song in a Dance of Unity
4. In Light
5. Ein Stuck Uber Dem Boden
6. Radepur Im Februar

HERE

Peter Brötzmann, Günter Sommer + Barre Phillips - Réservé

Peter Brötzmann: alto, tenor & bass saxophones, bass clarinet
Günter Sommer: drums
Barre Phillips: bass (track2)

Review

by Thom Jurek

This 1998 recording by the duo of super-lunged saxophonist Peter Brötzman and percussionist Gunter Sommer with bassist supérieur Barre Phillips entering later was a reunion from the Total Music Meetings of the early '80s. None of the trio had played together for five years and -- suddenly -- here they were, together again for what proved to be a 75-minute set of spiritual and musical renewal. Phillips and Brötzman had been active in many ways during the break, but Sommers had explored a different path, one that landed him at the end of critics' barbs. This meeting was a chance to see not only if they could still play together and find the fire necessary to make sculptures of notes in midair, but to showcase how each man had grown as a musician. The first half-hour that comprises the title track has the duo coming out screaming, puncturing the air with ribbons of sound with nails attached. This is where each man establishes the ground he will speak to the others from. Phillips, not yet present, must have been astonished at what he heard from bongos and trap drums to voices. No wonder he wanted in so badly. He enters in the second half on "In Walked Beep." Phillips becomes the bridge by which true communication can happen. His bass playing filters each sound, each utterance, and mirrors it back to another player changed only by his own imagination, which clarifies -- not distorts -- the view of each soloist. This is not a cutting contest; this is a defining moment in the career of Sommers, who has more fire in his belly here that he had exhibited in the previous ten years combined. Phillips is the reason, the waterbearer who offered a safety net and a ledge to walk out on. This is what Coltrane talked about when he spoke of music that transcended music and became a cosmic language. The only difference being that, in these three men, there is no need for the cosmos when the earth is so full of passionate, unspeakable forces that need to be given utterance. By the end of the set, a short eight-minute improv named after some cigars Sommers had given Brötzman, the bridges are built, the towns erected, and the mountains moved. Communication has come from the silences of isolation and entered into the community of sound. Not a miracle, but an accomplishment to be sure.(from AMG)

1988 RESERVE

Günter Baby Sommer - Live in Jerusalem

Günter Sommer: drums
Assif Tsahar: bass clarinet
Stephen Horenstein: soprano & baritone saxophones
JC Jones: bass
Jonathan Albalak: guitar
Yoni Silver: bass clarinet
Yonatan Kretzmer: tenor saxophone

"But the feel of openness and tolerance that is the foundation of our music, is not always to be felt. I soon found myself exposed to an atomosphere of strain and tenseness, demarcation lines separating past, present, peoples. Where am I? Thrown back in time, into the former GDR?" are some of the honest, straight from the heart liner notes from German master drummer Günter "Baby" Sommer, about his stay in Jerusalem, and referring to the political situation. But he was there for the music, and welcomed in bassist JC Jones' Kadima Music Salon. He was also welcomed by the various saxes and bass clarinets played by Assif Tsahar, Steve Horenstein, Yoni Silver, Yonatan Kretzmer and the guitar of Yonatan Albalak, in various line-ups ranging from Sommer solo on drums over trios to quartets. With the exception of JC Jones and Assif Tsahar, the other musicians are unknown to me, although I heard Horenstein play on the recent Joëlle Léandre album, "Live In Israel", also on Kadima. Sommer is gigantic, driving these musicians on and on, onward and forward, "hypercussive nimbleness", as described by Yonatan Albalak, a real pleasure to hear him interact, and he is indeed the star of the album, but Tsahar is also quite strong. Listen to "Bast" a trio with drums and two saxes, or to "Sababa" a duet between Tsahar and Sommer. Most of the album is free jazz at a very high level, well recorded, with a very open and disciplined approach despite the freedom of the music itself. All musicians respect each other and give sufficient space to the other players to do their thing, and with excellent results. "Playing together means peaceful communication. Our discourse is a discourse in free speech. ... working on a new foundation for a better society - a human groove", writes Sommer. May peace be with you all, and enjoy the freedom of music. (from Free Jazz)

2009 LIVE IN JERUSALEM