#PETER BROTZMANN SAXOPHONE FULL#
#PETER BROTZMANN SAXOPHONE FREE#

#PETER BROTZMANN SAXOPHONE FREE#

Peter BrГ¶tzmann is one of the most important and uncompromising figures in free jazz and has been at the forefront of developing a unique, European take on free improvisation since the 1960s.Д«rГ¶tzmann first trained as a painter and was associated with Fluxus (Participating in various events and working as an assistant to Nam Jun Paik) before dissatisfaction with the art world moved his focus towards music. This live recording from the archives of Peter BroМ€tzmann was mixed by Lou Malozzi in Chicago, mastered by Martin Siewert in Vienna. There is only one prior release existing of BroМ€tzmann and Sharrock as a duo (vinyl-only on Okka Disc 2003). Peter BroМ€tzmann / alto/tenor/bass-saxophone, tarogato Another very unusual and exciting characteristic вЂ“ especially of the first four tracks вЂ“ is the fact that BrГ¶tzmann and Sharrock play harsh, minimalistic вЂ“ almost hard-rock- like вЂ“ repetitive breaks (sometimes in unison) which float either into real tunes (for BrГ¶tzmann standards) or angry outbreaks.' - Free Jazz Collective 'A surprising trademark of this album is the contrast between quiet, meditative, almost mellow passages which are confronted with brutal, distorted and wild parts like in Track 10, itвЂ™s an emotional back and forth that structures the music but also affords the listenerвЂ™s permanent concentration.

Raw and beautiful like a Paul Gauguin painting.' - All About Jazz 'Both players engage, respond, bluster, and resolve these eleven pieces with a mutual purpose and a reciprocity of sound. Recommending this reissue to fans of the mustachioed German's work comes easy the real revelation is that listeners less familiar with his legendary brio are likely to deem it essential as well.A 1987 performance between legendary German free-jazz saxophonist/clarinetist Peter Brotzmann and the late legendary American free-jazz guitarist Sonny Sharrock performing live at Jamkulturfabrik in Esch/Alzette, Luxembourg. Sound throughout the entire disc is surprisingly crisp and direct- proof that the UMS/FMP partnership is certain to bear further fruit in the future. Taped for posterity by Radio Bremen, the tumultuous piece adds pianist Van Hove, who would soon join BrГ¶tzmann's next trio project with Han Bennink. The folks at UMS, always generous with unearthed treasures, have tacked on a fourth track.

#PETER BROTZMANN SAXOPHONE FULL#

The album's flipside weds two shorter cuts: the almost gradual contemplations of 'Sanity' that ends in a conflagration of and a return to high-caliber horn histrionics 'Morning Glory.' Both demonstrate a layered use of dynamics and even silence in a way that runs directly in the face of those detractors who claimed (and continue to claim) that the German is all about full frontal assault at the expense of subterfuge and subtlety. An abrupt end caps the improvisation with a corrugated edge of uncertainty. Br?tzmann soon returns possessed by a ferocious fury, his cloven lines skidding and squealing against the oblique rhythmic surface of his partners and rising and falling in stridulent streaks. His arco technique is only a shadow of what it would later become, but as a responsive element in these unrepentant energy music surroundings it serves in good stead. Johannson breaks off minutes later in a tumbling traps-borne foray, pregnant with press rolls of all varieties while Kowald answers in a bowed retort that worries the same small region of his bridge shearing off aural sparks in process. BrГ¶tzmann can't hold silent for long, and his renal siren erupts again in a flood of ruddy shrieks. The excoriating string of saxophone bursts that opens the record disperse swiftly into a highly percussive dance between thrumming bass strings and pattering stick-activated cymbals and snare. Revisiting these sounds now aged over three decades (but every bit as relevant) public rancor and disdain may seem understandable given the canonical forces that still guide some strains of improvised music, but hardly deserved. Both the Panzer intensity and stentorian belligerence are securely in place on this earlier outing and judging from the generous photos that line the reissue's notes the Wuppertalian populace wasn't sure what to make of these lads either. That historic honor belongs to what many perhaps still consider a perverse homage to his principle instrument's inventor, also originally circulated on the FMP imprint.

Contrary to its attendant acclaim, Peter BrГ¶tzmann's seminal Machine Gun was not the German's debut recording as a leader.

Peter brotzmann saxophone