compositions by Manfred Schulze
Recorded by Jost Gebers live during the 'Grenzüberschreitungen'
on May 2, 1985 in Wuppertal (Nummer 12) and on July 19,
1986 at the FMP-Studio, Berlin.
Produced by Jost Gebers
Cover design/Layout: Manfred Kussatz
Zeis, Gerd Neumann, Dagmar Gebers
notes: Bert Noglik
published in October 1997
from the booklet:
(...) These recordings from the years 1985/86 reveal the
total spectrum of MANFRED SCHULZE´s music for brass quintet.
(...) The line-up of the group proved to be consistent despite
the irregular playing possibilities. (...) MANFRED SCHULZE
had put his first brass quintet together already in 1969.
He remembers that before starting the rehearsals, he would
sometimes put on a recording of one of Arnold Schönberg´s
compositions for brass quintet in order to get the colleagues
into the right mood. (…)
Manfred Schulze found himself in a cleft stick. In his desire
to improvise and in his means of expression, he was too heavily
influenced by Jazz to be able to get near to New music while
at the same time moving away from the imitation of American
Jazz, long before the Free Jazz emancipation. This turned
out to be even more tragic: later, in the rising times of
Free Jazz he was misunderstood, because SCHULZE´s approach
originated too much in composition, in order to be able to
be associated unreservedly with totally free improvisation..
MANFRED SCHULZE felt a strong commitment towards the Middle-European
cultural tradition. Hindemith, Schönberg or Webern, but also
Bach and the German choral tradition left their mark on him
just as much as the impression of Coleman Hawkins´ or Sonny
Rollins´ playing. (...) MANFRED SCHULZE was never listened
to enough, and never received the appreciation he deserved.
(…) Yet the members of the Rova saxophone quartet honoured
him quite rightly, much to his very own amazement, as a pioneer
and for paving the way.
The time of the GDR were his times. Afterwards, as a sad coincidence,
he fell ill, slowly at first and then with increasing severity,
and became silent. (...)
Whoever listens to recordings of a quintet influenced by MANFRED
SCHULZE, or attends concerts of live music, may discover that
his music has had a lasting effect going beyond his actual
physical presence as a player. (...)
In hindsight, NUMMER !", VIERTENS and B-A-C-H show something
of a manifesto-like character: complicated and wonderfully
simple at the same time, demanding and full of on unmistakable
joy of playing, showing clarity of mind brought passionately
into the realms of sound.
Translation: Isabel Seeberg / Paul Lytton