Немецкий Авангардный Лэйбл (Erkrath). Цена на диски вполне доступна (ориентировочно 16у.е. в Москве). Диски характеризует прекрасное качество звучания и оригинальный фирменный дизайн.
|GROB 432 ||AMBARCHI/AVENAIM/ROWE
||That happened on May 29,
2001 in the legendary Paris Club, Instants Chavires. The trio
Ambarchi/Avenaim/Rowe (two prepared guitars, a little electronics and
percussion) were on tour at the time in France (their first tour) and met the
duo Otomo/Sachiko (guitar, turntables and sine wave generator)
|GROB 425 ||BAILEY, DEREK & FRANZ
||DEREK BAILEY & FRANZ
record: Franz Hautzinger drove to London to visit Derek Bailey and make some
|GROB 101 ||BEASTIESHOPBEACH
||Olaf Rupp and Götz
Rogge -both from Berlin- playing live electronic music. Götz Rogge works
as a film maker, Olaf Rupp as a guitarist and electronic musician (mostly
solo guitar, but also cooperation with Wolfgang Fuchs, Harri
Sjöström, Paul Lovens, Thomas Lehn, Butch Morris...).
|GROB 538 ||BLANK
||The Frankfurt Trio Blank
(Oliver Augst, Rüdiger Carl, Christoph Korn) encounters classic
improvisation with the sure-footed and subversive gesture of contemporary
anarchism. They work on small forms; out of songs, elements of pop music,
noise and theatrics (in the true sense of the word) they cut out strange
miniatures of free improvisation.
|GROB 540 ||BOSETTI, ALESSANDRO/ANNETTE
saxophone player, improviser, composer of musique concrète and at that
time having lived in Berlin for less than a year. The recording has pieces
that he had just recorded with the guitarist Annette Krebs.
|GROB 429 ||BUTCHER, JOHN & PHIL
||APPLES OF GOMORRAH
||Phil Minton as a singer and
trumpeter, strongly inspired by Chet Baker and John Butcher as a saxophone
player in the Cool Jazz tradition.
|GROB 321 ||CHADBOURNE, EUGEN
||ALBERT AYLER UNDEAD
||Virtuoso of the guitar and
banjo, a visionary of new and free music (he was a student of Leo Wadada
Smith and Anthony Braxton and confidant of John Zorn), a foundational
deconstructor of rock and above all of all forms of Country and Western
music. He was an alternative rock star, back when no one could make money
from this concept, and went further underground when the American independent
scene mutated into main stream; Feat. Joe Williamson & Uli Jenneßen
|GROB 205 ||CHADLEHN
||The virtuous string player
Eugene Chadbourne and the ingenious synthesizer player Thomas Lehn met in the
summer of 1999 to celebrate an impossible event: the confrontation of a banjo
with an analogue EMS-Synthesizer... Both know well, as if dreaming, how to
move between material extension and its demolition in the best tradition of
European improvised music and country songs, as only Chadbourne can recite
|GROB 319 ||DAFELDECKER, WERNER
here once more how he dissociates his strict instrumentalism (dealing with
the instrument as essential sound material) from his original instrument, the
contra bass, and transfers it to others: guitar, percussion, found objects, PowerBook;
with the Berlin/Viennese electronic musician Boris D. Hegenbart.
|GROB 435 ||DAFELDECKER/HAUTZINGER/
Werner Dafeldecker and Franz Hautzinger invited the Japanese electronic
artist Sachiko M and the dean of British new music, John Tilbury, to Vienna
to record together (the recording sessions were coupled with a performance of
the quartet at the Nickeldorf Konfrontationen).
|GROB 541 ||DAFELDECKER/LANG
||Composer and organ player
Klaus Land and the Viennese bassist and multi-instrumentalist Werner
|GROB 324 ||DAVIES, HUGH
||WARMING UP WITH THE ICEMAN
||Assistant of Karl-Heinz
Stockhausen for a long time in the 60's. His comrades-in-arms were Derek
Bailey, Evan Parker and Jamie Muir. Peter Brötzmann grabbed Davies in
his trio with Han Bennink and Fred van Hove for a short period of time. They
even gave a legendary concert with Don Cherry. The quartet, however, was not
recorded at the time. For Jost Gebers, organizer of the concert and producer
of FMP, this concert was a good reason to record him. Hugh Davies' first solo
record appeared then on FMP.
|GROB 322 ||DENLEY, JIM & MARTIN NG
||Denley and NG have been a
constant presence in Sydney's small but fine improvisation scene for years.
Alto saxophonist, flautist and flute deconstructor, Denley has been working
(for over ten years) with 'Machine for Making Sense,' in duo with Stevie Wishart
or with the international group 'Lines' (with Marcio Mattos, Phil Wachsmann,
Axel Dörner and Martin Blume). Martin NG, an excellent music expert, but
a cardiologist by profession, uses turntables and CD players.
|GROB 430 ||EFZEG
||BOOGIE (DEDICATED TO JOHN
||Vienna quartet Efzeg to
their successful debut: Billy Roisz/ Boris Hauf/ Burkhard Stangl/ Martin
|GROB 426 ||DIE ENTTAEUSCHUNG
||DIE ENTTAEUSCHUNG [The
||Super group of modern jazz.
Axel Dörner plays trumpet, Rudi Mahall bass clarinet, Jan Roder bass and
Uli Jenneßen drums, all personalities of the Berlin jazz scene, all
internationally known. With Alexander von Schlippenbach as a guest, they interpreted
the entire works of Monk while in Hong Kong.
|GROB 428 ||FRIEDL, REINHOLD &
||Sharp, the New Yorker
multi-instrumentalist (main instrument: the guitar, of course, but also the
bass clarinet, soprano saxophone, electronics) and composer & Reinhold
Friedl, Berlin pianist, composer and impresario.
|GROB 544 ||HAUNTZINGER/WINTER
|GROB 3134 ||HAUTZINGER, FRANZ
||2-CD: second provocative
project that the Viennese trumpeter and composer Franz Hautzinger has
released on GROB with trombonist Radu Malfatti and the guitarists Burkhard
Stangl and Gunter Schneider.
|GROB 211 ||HAUTZINGER, FRANZ
||Solo Trumpet: A new tonal
color melodics [Klangfarbenmelodik], as hermetic as inviting, just as
abstract-because he refers to no scale, no traditional harmonic system (tonal
or atonal, it doesn't matter), no conventional approach-as concrete, since he
makes elementary things, like streaming air or breathing, present.
|GROB 542 ||JOHANSSON/CARL/WILLIAMSON
|GROB 103 ||KONK PACK
||Hardcore trio made up of
world class improvisers Tim Hodgkinson (Henry Cow, The Work, God, etc.),
Thomas Lehn (Music In Movement Electronic Orchestra, and has also worked with
Eugene Chadbourne, the Klangräumer, Paul Lovens, Shabotinski, Radu
Malfatti, Gerry Hemingway, Günter Christmann, Evan Parker, etc. -
"probably the world's best synthesizer player", Jim O'Rourke) and
Roger Turner (who has worked with John Russell, Hugh Davies, Alan Silva, Phil
Minton, John Butcher, Comforts of Madness, Steve Beresford, Evan Parker,
Derek Bailey, Cecil Taylor, etc.).
|GROB 323 ||KONK PACK
||Trio of Thomas Lehn, Tim
Hodgkinson and Roger Turner.
|GROB 537 ||LEHN, THOMAS/PAUL LOVENS
||Paul Lovens has played in
many duo constellation, with Paul Lytton, Urs Voerkel, Cecil Taylor, Mats
Gustafsson, Paul Rutherford, Eugene Chadbourne & Thomas Lehn has become
one of the most distinguished improvisers.
|GROB 318 ||MARCHETTI/VOICE CRACK/NOE
||Swiss duo Andi Guhl and
Norbert Möslang, a.k.a. Voice Crack, a.k.a. "The Godfathers of
Glitch" (Phil Durrant) have searched out cooperation with other artists:
there have been recordings with Günter Müller, Jim O'Rourke, Eric M
and Otomo Yoshihide. The cooperation with Lionel Marchetti and Jérome
Noetinger is doubly different on "double_wash". On the one hand,
both Frenchmen work, musically, in a similar field; to a large degree, they
also use found objects in their electro-acoustic improvisations.
|GROB 206207 ||MIMEO
||ELECTRIC CHAIR & TABLE
||2-CD: The possibilities of
electronic or electro-acoustic improvisation between lap tops and amplified
metal junk are brought to their essence by the musicians in a strict but
extremely finely differentiated design.
MIMEO: Keith Rowe, Phil Durrant, Kaffe Matthews, Jérôme
Noetinger, Gert-Jan Prins, Cor Fuhler, Thomas Lehn, Marcus Schmickler, Markus
Wettstein, Christian Fennesz, Peter Rehberg and Rafael Toral.
|GROB 001 ||MONTERA, JEAN-MARC
||SMILES FROM JUPITER
Montera's second solo recording. The music is hard and aggressive, splintered
|GROB 210 ||PRINS, GERT-JAN
||From Amsterdam, Gert-Jan
Prins has established himself as one of the central electricians in
improvised music in the last three years.Before this one knew of him as a
drummer who could be heard with Johannes Bauer or Luc Houtkamp, among others.
|GROB 427 ||PRINS/VAN BERGEN/FENNESZ
record: Gert-Jan Prins - Percussion, Peter van Bergen - Saxophone &
Christian Fennesz, one of the superstars of the electronica jet set.
|GROB 209 ||ROWE, KEITH
||HARSH, SOLO GUITAR
||Keith Rowe is a pioneer
and-to maintain this is hardly exaggerated-one of the heavenly figures of the
younger, electronic development in improvised music. After an early stay in
Mike Westbrook's big band, this London Pop Art painter developed the table top
guitar in the middle of the 60's. He laid his guitar flat on the table and
prepared it with all sorts of mechanical objects (springs, paper-clips,
pliers, sheet metal, brushes) as well as electronic ones (contact
|GROB 433 ||RUPP, OLAF
||Solo electric and acoustic
|GROB 317 ||SCHOOL OF VELOCITY
and guitarist Dave Tucker initiated the project in 1998 with drummer Steve
Noble, the saxophonist Evan Parker and bassist John Edwards.
|GROB 434 ||SHARP, ELLIOT & BOBBY
multi-instrumentalist and composer-and Bobby Previte-drummer and
|GROB 431 ||SSSD
||Martin Siewert, Burkhard
Stangl, Taku Sugimoto and Werner Dafeldecker, three guitars and an electric
|GROB 102 ||SUCHY, JOSEPH
||Announced in 1978: the
debut album of the guitarist and producer Joseph Suchy. The guitar virtuoso
focuses here completely on brute and highly dynamic sound eruptions, whose
subtlety appears in sudden breaks and surprising empty spaces. Only with his
guitar and a multi-tracking devise, he constructs complex improvised music.
The effect of the music is aimed directly at the body: it is perceived via
the stomach: the music's physical presence takes one's breath away in the
truest sense of the word.
|GROB 539 ||V/A
||Thomas Borgmann - saxophon/
Peter Brötzmann/ William Parker - bass/ Rashied Bakr - drums
|GROB 212 ||V/A
||Electronic Music between
grooves and non-idiomatics. Ticklich consists of the distinguished London
improviser Kev Hopper (among others, Stereolab, High Llamas, cooperation with
Charles Hayward), Richard Sanderson (cooperation with Steve Beresford/Anna Homler,
Simon Fisher Turner, Peter Cusack, Kaffe Matthews, Blixa Bargeld), Phil
Durrant (cooperation with John Butcher, John Russell, Thomas Lehn, Radu
Malfatti, the Music in Movement Electronic Orchestra), and the video artist
|GROB 208 ||V/A
||TRIBUTE TO MASAYUKI TAKAY
||Masayuki Takayanagi was the
first guitarist to use the table-top guitar, thereby instigating a purely
incomprehensible noise. The Japanese priest of noise, Keiji Haino, Otomo
Yoshihide and Merzbow all went to his "school.": Weasel Walter,
drummer and mastermind of the Flying Luttenbachers, Fred Longberg-Holm, the
inspired cellist & O'Rourke plays Kevin Drumms' guitar.
|GROB 204 ||WERTHER-WITTWER
Wertmüller is known for his activities with Alboth!, has played as well
with Peter and Caspar Brötzmann, and Hans Reichel. The guitarist Stephen
Wittwer is a pioneer of free improvisation in Switzerland and one of the most
distinguished improvisers in the world. He has played with Radu Malfatti,
Paul Lovens, Iréne Schweizer, Martin Schütz, Hans Koch,
Rüdiger Carl, Butch Morris, Phil Minton, and Peter Brötzmann and
has worked together with artists such as the legendary artist duo Fischli /
|GROB 536 ||WILLIAMSON, JOE
||Living in Berlin, the young
Canadian Joe Williamson is at the moment THE bassist of the European Improv
and Free Jazz scene. He plays with Sven- ke Johansson in Hudson Riv- and in
the Candy-Trio (soon out on GROB), he can be heard in Tobias Delius' Quartet,
he is a member in Leonid Soybelman's Kletka Red, Thomas Borgmann's Boom Box
and Martin Siewert's Trapist, he plays in duo with Olaf Rupp, and can be
heard again and again in groups with the drummer Tony Buck, and sometimes he
is invited by Eugene Chadbourne to play in his European trio.
|GROB 320 ||WITTWER, STEPHAN
||It reflects Wittwer's work
with (live) electronics, which has led into a surprising, yet absolutely
logical synthesis (or better, symbiosis). What is guitar and what is
digitally processed, what is played live in now time and what was synthesized
later-all this is no longer clearly recognizable.
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