|
Peter Brötzmann - Nipples
Recorded 4/18/69 & 4/24/69
Peter Brotzmann: tenor saxophone
Evan Parker: tenor saxophone
Fred Van Hove: piano
Derek Bailey: guitar
Buschi Niebergal: bass
Han Bennink: drums
On second track – omit Bailey & Parker
Each track about 16-17 minutes, the first recorded on the 18th, the second a week later.
It is now 2006, of course
This one has been available for a few years – but for many reasons, I just didn’t bother. Had having owned For Adolphe Sax, Machine Gun and Fuck De Boer I had an idea what I was in for – but it has been a long time since I’ve been down that listening road.
I imagine the outrage in some surprised ears if this was played for someone in restraints. Restraints might be the only thing that would allow many to listen to this. I imagine 1969 ears. Maybe if I was really hip, I might have been into Ayler or late-period Trane – Shepp, etc.
Maybe I would have one of the few who could get with Cecil’s Student Studies – this one was recorded a little after the Taylor blowouts with Rivers, Lyons and Cyrille.
And as some of know, Machine Gun is pure fire, but this one almost takes Brotzmann’s strength and focuses intensely on leading this music to points of ecstasy that are even beyond the scope of what Brotzmann usually delivers. The first track contains 2 breaks where Brotz is left alone wailing - about 9+ minutes in and ten at 11+ - where the only thing that doesn’t come out of his horn seems to be his lungs and other internal organs.
The second break contains a squelching roar that takes all sounds and makes them moot.
Parker is left as an innocent bystander – seemingly not ready for this sort of musical outrage – bennink is there – huge – and bailey adds a grit to the track that makes this as tough and hard and gritty a 16 minute piece of improve as a band like this has ever put on record
The second tracks’ highlights are a storming bass/drums intro from Bennink and the legendary great lost bassist, Niebergal – then Brotz and Van Hove take the piece to a balzing conclusion – just about right. Bennink is blustery, with little connection to much of the swing based music he has played many times before or since- with a huge thundering sound, he is all of over this record – and Buschi Nierbergal’s bass is beyond the times – maybe he and Kowald were really the first great free jazz bassists – to me- they transcend jazz – maybe this isn’t even jazz – it really doesn’t matter – what matters is this music matters – matters that some with open minds hear it for what it is – a promodial balst – and young fiery musicians wearing their hearts on their sleeves – something is released – they are relasing their passions – and when it works – I am moved
Never Too Late But Always Too Early
|
Linear Mode
