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		Jazz Articles » Album Review » Fred Van Hove: WIM FANFARE - Free Music (1975 -1988)	

      

                
      
            
      
                                												
								
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        	Fred Van Hove: WIM FANFARE - Free Music (1975 -1988)        
      
                
      
            				
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                    Fred Van Hove: WIM FANFARE - Free Music (1975 -1988)
					
                    
                
      
                        									Parallel to the intrigue and innovation of the music, Jazz is a story of political and economic reorganization. In America, from the days of swing, bebop, and eventually free jazz, the story is repeatedly one of the musicians against the record companies, venues and financiers that seek to control both their wages and their artistic development. This art, beloved and respected globally, but it is also tainted by the legacies of disenfranchisement, ruthless commodification and socioeconomic neglect of even its greatest luminaries. Because of this shameful history (and unchanging present), it is essential for those devotees of the genre to pay close attention to attempts at freedom from the yoke of reckless commercialism, rare and often clandestine as they may be. 

       In Belgium, the WIM (Workshop for Improvising Musicians)'s Free Music Festival has fallen through the cracks of jazz history, but is no less spectacular for its obscurity. Founded in 1975 by Fred Van Hove
      Fred Van Hove
      accordion
      "
data-original-title="" title="">Fred Van Hove, 
      Cel Overberghe
      saxophone
      "
data-original-title="" title="">Cel Overberghe, 
      André Goudbeek
      saxophone, alto
      "
data-original-title="" title="">André Goudbeek       and 
      Ivo Vander Borght
      percussion
      "
data-original-title="" title="">Ivo Vander Borght      , the Free Music Festival was held every year until 1988, drawing local free jazz practitioners and global audiences alike. The festival held no ties to labels, publishers or organizers outside of the actual performers. Bands spilled out onto the rustic streets of Antwerp, into city squares, public parks and other spaces across the metropolitan area. No concert houses, no restaurants, no bars, just flummoxed audiences going about their day, assaulted by Van Hove's abrasive accordion trills, 
      Kris Vinck
      trombone, bass
      "
data-original-title="" title="">Kris Vinck      's bellowing trombone or Goudbeek's corrosive squawk on the alto. Van Hove and company invented a music which could not be alienated from the performers, the city, even the precise moment in which it was played; a music immune to the greedy vampirism of producers. Sadly, this also means present listeners have had a very limited set of recordings to whet their appetites, until now. Remastered from rare promotional tapes printed for a Belgian arts & culture magazine, WIM FANFARE offers an invaluable glimpse into the group's local revolution, complete with a performance by the original band in '75. 

      Every track smells like the street. The blaring, expressionistic accordion swooning between tinny mallets tastes like sopping cheese curds and oily fritters, Goudbeek's salacious toots resemble the earthy rasp of the vendor's slogans. It is difficult to mistake the incorrigible back- and-forth between 
      Herman Paessens
      saxophone, soprano
      "
data-original-title="" title="">Herman Paessens      ' soprano and a flurry of tenors and alto in "Gutcha" as anything other than a spontaneous petty brawl bursting from some nameless boulevard snafu. 

      The performances teeter on the line of the ridiculous and carnivalesque, and upon noticing the line, they eagerly trounce over it Marches, rags, jigs, polkas and more, all represented in equal fervor. An entire history of folk music in the 20th century is acted out, part grandiose procession, part madcap farce. The orbits of the sublime and the crass are rendered very close together, the two crashing and mixing like meteors surging toward the earth. Nothing is sacred, or perhaps everything is; the profound and profane twin cliffs staring down the same mad abyss. 

      WIM concerts are born from the streets and naturally take the many signs and signals urban life produces. They are far from the first to do so. But the musicians do not act as parrots, do no not deign to imitate these scenes, which frequently reduces them to mockery. It is not translation they are after, but the "thing" in itself. If the syncopated drum line resembles the controlled chopping of a Flemish butcher, or the cackle of 
      Richard Cuvillier
      trumpet
      "
data-original-title="" title="">Richard Cuvillier      's trumpet reminds one of an old peasant's nasal guffaw, it is not out of interpretation, but integration.- The musicians play with the same humility of a solitary organ grinder or wandering busker. They play as if their concerts were natural parts of city life, because in Antwerp, they really were. Today, Van Hove's name is as inextricably linked to the city as Peter Paul Rubens, and why not? There is evidence of his (and by extension, WIM's) sound on every corner and cradled in every public square. The group's true revolution was just this: to liberate the performer from the tyranny of their overlords, and return them to the people and communities that formed their identity. There is no record this year that treasures so dearly the stink of life. 			
                    

                    
      
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      Track Listing
       
      Prijs 75; Wrijloop; FM 84; Leer Mij Zingen; Gutcha; Piket;  
FM 88.
      
                						
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											Fred Van Hove
									
      
			      
		
      
		
      
			
      Fred Van Hove
      
			
			accordion			
		
      
		
      
									
								
      
	
      

      


      
	
      
		
      
		
      
			
				
      
											
									
      
			      
		
      
		
      
			
      Cel Overberghe
      
			
			saxophone			
		
      
		
      
									
								
      
	
      

      


      
	
      
		
      
		
      
			
				
      
											
									
      
			      
		
      
		
      
			
      André Goudbeek
      
			
			saxophone, alto			
		
      
		
      
									
								
      
	
      

      


      
	
      
		
      
		
      
			
				
      
											
									
      
			      
		
      
		
      
			
      Ivo Vander Borght
      
			
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      Album information
      
                
      
                    Title: WIM FANFARE - Free Music (1975 -1988)

                                            | Year Released: 2025                    
                                            | Record Label: Cortizona Heritage                                    
      

        
        
		
        
		
		
		
					
      
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									Fred Van Hove
									Album Review
									Fran Kursztejn
									WIM FANFARE - Free Music (1975 - 1988)
									Cortizona Heritage
									Cel Overberghe
									André Goudbeek
									Ivo Vander Borght
									Kris Vinck
									Herman Paessens
									Richard Cuvillier
							
      
		
		    
      
        
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‘Oh, that,’ she said. ‘Dear Julia; I hope we shall be great friends again, when I come back from Brighton. I shall be very glad to, I am sure.’ "His captain asked him what he had to say for himself to escape punishment, and the man replied that it was unreasonable to expect all the cardinal virtues for thirteen dollars a month. The captain told him the excuse was sufficient for that time, but would not do for a repetition of the offence."  "Pat who--oh? I tell you, my covey,--and of course, you understand, I wouldn't breathe it any further--"  We have seen how Carneades, alike in his theory of probability and in his ethical eclecticism, had departed from the extreme sceptical standpoint. His successor, Clitomachus, was content with committing the doctrines of the master to writing. A further step was taken by the next Scholarch, Philo, who is known as the Larissaean, in order to distinguish him from his more celebrated namesake, the Alexandrian Jew. This philosopher asserted that the negations of the New Academy were not to be taken as a profession of absolute scepticism, but merely as a criticism on the untenable pretensions of the Stoa. His own position was that, as a matter of fact, we have some certain knowledge of the external world, but that no logical account can be given of the process by which it is obtained—we can only say that such an assurance has been naturally stamped on our minds.254 This is the theory of intuitions or innate ideas, still held by many persons; and, as such, it marks a return to pure Platonism, having been evidently suggested by the semi-mythological fancies of the161 Meno and the Phaedrus. With Philo as with those Scotch professors who long afterwards took up substantially the same position, the leading motive was a practical one, the necessity of placing morality on some stronger ground than that of mere probability. Neither he nor his imitators saw that if ethical principles are self-evident, they need no objective support; if they are derivative and contingent, they cannot impart to metaphysics a certainty which they do not independently possess. The return to the old Academic standpoint was completed by a much more vigorous thinker than Philo, his pupil, opponent, and eventual successor, Antiochus. So far from attempting any compromise with the Sceptics, this philosopher openly declared that they had led the school away from its true traditions; and claimed for his own teaching the merit of reproducing the original doctrine of Plato.255 In reality, he was, as Zeller has shown, an eclectic.256 It is by arguments borrowed from Stoicism that he vindicates the certainty of human knowledge. Pushing the practical postulate to its logical conclusion, he maintains, not only that we are in possession of the truth, but also—what Philo had denied—that true beliefs bear on their face the evidence by which they are distinguished from illusions. Admitting that the senses are liable to error, he asserts the possibility of rectifying their mistakes, and of reasoning from a subjective impression to its objective cause. The Sceptical negation of truth he meets with the familiar argument that it is suicidal, for to be convinced that there can be no conviction is a contradiction in terms; while to argue that truth is indistinguishable from falsehood implies an illogical confidence in the validity of logical processes; besides involving the assumption that there are false appearances and that they are known to us as such, which would be impossible unless we were in a position to compare them with the corresponding162 truths.257 For his own part, Antiochus adopted without alteration the empirical theory of Chrysippus, according to which knowledge is elaborated by reflection out of the materials supplied by sense. His physics were also those of Stoicism with a slight Peripatetic admixture, but without any modification of their purely materialistic character. In ethics he remained truer to the Academic tradition, refusing to follow the Stoics in their absolute isolation of virtue from vice, and of happiness from external circumstances, involving as it did the equality of all transgressions and the worthlessness of worldly goods. But the disciples of the Porch had made such large concessions to common sense by their theories of preference and of progress, that even here there was very little left to distinguish his teaching from theirs.258 After she had done that she stood hesitating for just a moment before she threw off all restraint with a toss of her head, and strapped about her waist a leather belt from which there hung a bowie knife and her pistol in its holster. Then slipping on her moccasins, she glided into the darkness. She took the way in the rear of the quarters, skirting the post and making with swift, soundless tread for the river. Her eyes gleamed from under her straight, black brows as she peered about her in quick, darting glances. George II. was born in 1683, and was, consequently, in his forty-fourth year when he ascended the throne. In 1705 he married the Princess Caroline Wilhelmina of Anspach, who was born in the year before himself, by whom he had now four children—Frederick Prince of Wales, born in 1707, William Duke of Cumberland, born in 1721, and two daughters. On the 13th of February the Opposition in the Commons brought on the question of the validity of general warrants. The debate continued all that day and the next night till seven o'clock in the morning. The motion was thrown out; but Sir William Meredith immediately made another, that a general warrant for apprehending the authors, printers, and publishers of a seditious libel is not warranted by law. The combat was renewed, and Pitt made a tremendous speech, declaring that if the House resisted Sir William Meredith's motion, they would be the disgrace of the present age, and the reproach of posterity. He upbraided Ministers with taking mean and petty vengeance on those who did not agree with them, by dismissing them from office. This charge Grenville had the effrontery to deny, though it was a notorious fact. As the debate approached its close, the Ministers called in every possible vote; "the sick, the lame were hurried into the House, so that," says Horace Walpole, "you would have thought they had sent a search warrant into every hospital for Members of Parliament." When the division came, which was only for the adjournment of Meredith's motion for a month, they only carried it by fourteen votes. In the City there was a confident anticipation of the defeat of Ministers, and materials had been got together for bonfires all over London, and for illuminating the Monument. Temple was said to have faggots ready for bonfires of his own. "No, you don't," answered Shorty. "I'm to be the non-commish of this crowd. A Lieutenant'll go along for style, but I'll run the thing."  "Si Klegg, be careful how you call me a liar," answered the Orderly. "I'll—" "Then there is nothing to be done?" Dward asked.  "I'll have a good grain growing there in five year—d?an't you go doubting it. The ground wants working, that's all. And as fur not wanting the farm no bigger, that wur f?ather's idea—Odiam's mine now." At last the gods, who are more open-handed than ungrateful people suppose, took pity on the rivals, and gave them something to fight about. The pretext was in itself trivial, but when the gunpowder is laid nothing bigger than a match is needed. This particular pretext was a barrow of roots which had been ordered from Kitchenhour by Reuben and sent by mistake to Grandturzel. 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