Tuesday, April 14th, 2009...4:28 pm

German free music legend joins forces with young American jazz superstars.

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Epistrophy Arts Presents

Thursday, April 30, 2009
Peter Brötzmann, Nasheet Waits and Eric Revis Trio

Peter Brötzmann (Germany) - saxophones, clarinets
Nasheet Waits (New York) - drums
Eric Revis (San Antonio) - bass

Location:
Street:
1104 E.11th St.
City/Town:
Austin, TX

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Present at the very beginning of the European Free Improvisation scene, Peter Brötzmann began his career as a visual artist with connections to the Fluxus movement. After hearing a concert by jazz legend Sidney Bechet, Brötzmann rejected a career in the galleries. He taught himself saxophones and clarinets, played modern jazz influenced by Ornette Coleman, and worked with American greats like Don Cherry and Steve Lacy. Brötzmann developed a style similar to radical American saxophonist Albert Ayler (without much knowledge of Ayler), an uncompromising, screaming cry that challenged itself to greater heights of rage and energy. His landmark 1968 recording “Machine Gun” is a frightening and incendiary slab of sound that (with only acoustic instruments) can measure up to any guitar/electronic noise project happening today. Time has added subtlety and beauty to Brötzmann’s sound. Bluesy lyricism and timeless muezzin-like calls emerged in later years. His spools of dark-toned phrases emerge and unravel over pulsing tempos (these days Brötzmann seems to enjoy the heart-like beat of a masterful rhythm section). His music has all the sincerity, natural wisdom, and universal depth that a mature artist can possess. He remains one of the most inspiring and influential saxophone players in jazz and free improvisation.

In this exciting (landmark) collaboration, Peter Brötzmann is joined by two of the most important members of the current generation of mainstream jazz artists.

Drummer Nasheet Waits is a New York native. His interest in the drums was encouraged by his father, legendary percussionist, Frederick Waits. Waits received his Bachelor of Arts in Music from Long Island University. He studied privately with renowned percussionist Michael Carvin. Carvin’s tutelage provided a vast foundation upon which Waits added influences from his father, as well as mentor Max Roach. It was Roach that first gave Waits’ formidable talent international spotlight, hiring him as a member of the famed percussion ensemble M’BOOM. Waits’ talent came to the attention of reedman Antonio Hart, who asked him to originate the percussion chair of his first quintet. More recently Waits has been a member of Andrew Hill’s bands, Jason Moran’s Bandwagon, and Fred Hersch’s trio. Moran, bassist Tarus Mateen, and Waits have been deemed, “the most exciting rhythm section in jazz” by JazzTimes. The 2001 recording “Black Stars” with the Bandwagon was named the “Best CD of 2001” in Jazz Times and The New York Times. Waits’ recording and performing discography is a veritable “who’s who” in jazz, boasting stints with such notables as Geri Allen, Mario Bauza, Hamiett Bluiett, Ron Carter, Steve Coleman, Stanley Cowell, Stefon Harris, Andrew Hill, Jackie McLean, The Mingus Big Band, Greg Osby, Joshua Redman, and Jacky Terrason.

Grammy-winning bassist Eric Revis has been one of the most solid voices in jazz for over 15 years. The deep-running power of his beat and his potent tone keep him in demand among notable musicians such as Branford Marsalis and Jeff “Tain” Watts. Born in Los Angeles, Revis grew up listening to funk and rock. At 14 he taught himself electric bass. After attending Southern University, Revis relocated to San Antonio for a gig playing 6 nights per week. As Revis worked the gig, fellow band members introduced him to jazz. Discovering this music, Revis switched to acoustic bass. Revis moved to New Orleans to study under Ellis Marsalis, Harold Battiste, and Victor Goines from 1991 to 1992. In 1994, he moved to New York to become the regular bassist for Betty Carter. It did not take long for New York musicians to take a notice. He worked regularly with Billy Harper, Louis Hays, and Lionel Hampton. In 1997, Branford Marsalis asked Revis to join him on his recording “Bug Shot”. Since then, Revis has been one of Marsalis’ most reliable allies. Rafi Zabor says “Eric Revis seems to me the finest rhythm partner yet to join a working Marsalis group: a terrific band bassist whose work evades casual notice. The lunging, deep-running power of his beat, acuity of accent, and his instinct for the right propulsive run of notes have given this band stronger legs to stand on, and an increased capacity for friendly earthquake.”

This project is funded in part by individual contributions, The Creative Opportunity Orchestra, The City of Austin through the Cultural Arts Division and by a grant from the Texas Commission on the Arts and an award from the National Endowment for the Arts which believes that a great nation deserves great art.

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