bmn trio / bmc trio

in memory of wilber morris & denis charles

the time was too short to develop all ideas we had



It all started with a phone-call from Wilber Morris in '95 asking me to do something together.
Beside an invitation to the Albert Ayler Memorial in New York 1996 (in 4-tet w/ Borah Bergman, Brötzmann & Thurston Moore) the first concerts in trio w/ Wilber Mooris & Denis Charles show up at the Context Studios on September 15th '96. First rehearsals were done at Borah Bergman's loft.
Parts of this concerts are captured on a documentary:
An interupted Conversation by Vèronique N. Doumbè (75 minutes) as well on two tracks on CD "Boom Swing" (Konnex-Records 1997)

~ wilber speaks about the trio

Until end of march '98 a lot of tourings & concerts followed.
After Denis Charles passing away on march 26th 1998, just three days after the last five weeks Europe-tour, the trio continued as the BMN-trio with Reggie Nicholson on drums until mid 2002, ending with the death of Wilber Morris at August 8th 2002.

A great loss & cut at all.

Beside the trio I also worked a lot with Wilber Morris in duo as well as in trio w/ Heinz Sauer - reeds or Achim Krämer - drums.

The BMC & the BMN Trio released 5 CD's , one LP and two Double LP. Another CD will be released at mid 2013 at NotTwo-Records.

bmc-trio first concert: context studios 1996 more at "Racial Harmony in a Not-So-Harmonious Music" more at "allaboutjazz": Stalker Songs more at "allaboutjazz: BMN...You See What We Sayin’?" more at Pavel Baranowski's blog



...last weekend the BMN trio played at INDIGO (Krakow, PL). Since the memorable concert of Art Ensemble of Chicago in Krakow there was no music which on one hand could reach magic rudiments and on the other hand could be sensible avantgarde.
Maybe it's a paradox but these two elements - magic rudiments and a sensible avantgarde - are coming towards a synthesis. Now more often we can notice a very important feature in live improvized music - that is creation in the presence of an audience...
They showed that they understand a musicians profession as a kind of magic, in which movement and behaviour has an essential meaning and that is why there was a lot of theatrical elements on their show.
Each of the three musicians played not only beautifully but instrumentally perfect, they also played original and sensible music without scream and hysteria.
A beautiful and cleaning concert inspite of the fact that I hadn't heard these musicians played before...
~ "Karnet Kulturalny", Krakow, Poland (translated by organizers!), March 2000


... this trio has roots that wind through two decades of big-city jazz. Led by bassist and founding member Wilber Morris, the BMN Trio paint the farthest corners of improvisational jazz with a kaleidoscopic brush...
~ THE STATE, Columbia, South Carolina, Oct. 2, 1998


...In addition to his (Morris) lovely deep, driving tone, this trio also showcases his composing. The tunes are centered around the rhythmic interplay of bass and drums, allowing Borgmann to fly free...Reggie Nicholson is among my favorites of the more "traditional" sounding avant-garde drummers.
He retains a solid Rhythmic base you can hold on to while both propelling the other musicians in interesting directions and impressing with his own improvisational comments on the music...Borgmann plays in an exciting, "freeish" style, but not overly skronky - in fact some of his strongest work are the ballads.
This guy knocks my socks off...The music is certainly more consciously "outside" than what Morris played with Noah Howard. The songs often played like duets between Nicholson and Borgmann, with Morris providing the rhythmic foundation...
~ Walt Davis, INSIDE the OUTSIDE, Carrboro, North Carolina, October 1998


Down-Beat Magazin, March 2000
for CD ....You See What We Sayin’? CIMP 188:

...written for this group’s late drummer Denis Charles, is an unspeakably sad and beautiful, half-hour requiem, throughout, the trio is warm, spiritual, far-reaching and organic. The impressive Borgmann has a furry, round sound and great energy; Morris’ sweet bass pulse recalls Native America and Africa...


bmc-trio live at poland 1998
w/ wilber morris & denis charles


Borgmann / Morris / Nicholson at the Karlstorbahnhof

ko. There was Great Black Music at the entrance of the jazz trio Thomas Borgmann, Wilber Morris and Reggie Nicholson in the Heidelberg Karlstorbahnhof. The great black tradition sounded with captivating intensity and great authenticity, even though Borgmann is a Berliner. In the last year the saxophonist was still with his free-jazz formation RUF DER HEIMAT in the Karlstorbahnhof, now he came in the trio with both of his black colleagues. Denis Charles should have drummed on this tour - with him and Morris, Borgmann bonded a friendship of many years. However, a few days before, the drummer passed away. To the special style and spirit of Charles, Reggie Nicholson came very close - like him (Charles), he (Nicholson) united African roots and an uncommon dance swing in his drum playing

The beginnings of jazz lay in Africa, and centered around there began the sound voyage of the trio. Pulsating nature lute like out of the jungle, quiet flagelations, rubbed sounds and amorphousness, filled the musical range more and more, let it storm in great waves. The playing increased hymnically, found its way out of the jungle into the church - intensified in a gospel theme. It climbed powerfully to a playing of a great spiritual strength, inspiration and density. Shimmering color expanses activated Thomas Borgmann on the tenor saxophone with dark gliding, repeating patterns and scale progressions, that he let win as if out of a mythical heritage out of its energy of the colors. He repeated and varied the material, drove motives in front of itself, parcelled them out in single parts just so much sounding pleasure like intelligence.

Again the African steppes pulsated, as Nicholson brought with hammering the tones, they let sound like the congas, farther in the trembling flagellations of the bass violin, tones, which swore to the sound world of the Kalimba, of the African fist piano. Borgmann chose with it the sopranino, that he violently (over) blew and scraped like an oriental shawn intoned with Arabian mode and gliding, shimmering scales.

Here there was a type of playing similar to Coltrane over wide streches, underlying an uncommonly strong, elastic groove. Bluesy passion steered by the sonorous and voluminously sounding bass violin play of Wilber Morris, and though it, downright hypnotic effect of the music was reached, that it widened itself, of a holy silence and a gentle ectasy became understood. A downright magical sworn power reached the playing with the quiet magnificent changing between causing to swell and long ebbing tones, between wonderful relaxed moments and exciting pushes.
~ RHEIN-NECKAR-ZEITUNG July 9, 1998 more +/-





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