The album’s title track is 25 minutes long, and for its first few minutes the two men are racing along in parallel, but then the saxophonist drops out, and the subsequent piano solo is so vibrant and alive, despite the almost prepared sound of the instrument, that when Brötzmann comes back in, he’s playing in an almost Lester Young-esque style, delving deep into classic blues and jazz language like he’d do on his 2019 solo album I Surrender Dear. The pianists Brötzmann prefers are clang-and-bang artists like Fred Van Hove or Masahiko Satoh, but Smyth is a more lyrical and even romantic player. Smyth, and the music has a surprising intimacy. On Tongue in a Bell, recorded in Dublin in 2015, he’s working with pianist Paul G. This is never so apparent as in his duo albums, particularly when his duo partner is not a drummer. But the collective roar these three create approaches the intensity of hardcore punk, and the album as a whole is exhilarating.ĭespite his reputation as a human flamethrower - a relentless sonic terrorist - everyone I’ve ever spoken to who’s played with Brötzmann has rhapsodized about how carefully he listens, and how much he responds to what they’re doing. This disc, which features four effectively untitled tracks in just under 40 minutes, is mixed somewhat crudely it would be nice if Pliakas’s bass, which is extraordinarily artful while also mustering a wall-cracking roar, was a little more defined, and if the precision of Wertmüller’s drumming was properly showcased. Tonic was a small room, but it played host to a lot of acts that used volume as a compositional tool: I saw Sunn O))) there, and Fushitsusha, and Borbetomagus, and Merzbow, and Khanate, and Blind Idiot God. Like their last release, 2018’s Rio, it’s a document of a shit-hot live show, in this case the final performance by anyone at the storied NYC venue Tonic, which closed for good in April 2007.
Farewell Tonic, though, is as raw as it gets. Each of these is discussed below.įull Blast - Brötzmann’s trio with electric bassist Marino Pliakas and drummer Michael Wertmüller - has been active since 2004, during which time they’ve made eight records, almost all of which were recorded live, though some have involved heavy editing and after-the-fact processing, 2016’s Risc most of all. (A quote from that interview - via a Bandcamp Daily feature - appears in Harald Kisiedu‘s book European Echoes: Jazz Experimentalism in Germany 1950-1975, which is excellent and highly recommended.) Brötzmann is relentlessly prolific, and has, as ever, a fistful of new or recent recordings available this summer: two different duos, a live album by one of his long-running bands, and a trio collaboration. Many of his albums have been discussed here over the past ten years, and he was the subject of episode 49 of the BA podcast. Follow us on social media: Instagram Facebook Twitter Youtube.The indefatigable Peter Brötzmann has been a favored subject of this site since its inception. Jazz em Agosto will also open space for solos by trumpeter Luís Vicente (30th July), drummer Gabriel Ferrandini (06th August) and Austrian percussionist Katharina Ernst (07th August). The Swedish saxophonist Mats Magnunsson will have a double participation in the festival, with the Fire! trio, extended to a quintet, and with the collective The End, with the participation of the singer Sofia Jernberg. Highlight for the performance, on the 31st of July, by the trio Ikizukuri – Gonçalo Almeida, Gustavo Costa and Julius Gabriel -, with the trumpeter Susana Santos Silva, and, on the 5th of August, by the Pedro Moreira Sax Ensemble, for eight saxophonists, one pianist and a drummer, revisiting music composed for the show “Two Maybe More”, by Marco Martins. The poster also highlights the large presence of Portuguese artists, even because of the circumstances of limited international circulation due to the pandemic and as a way, the foundation says, to support the national artistic fabric. Until August 8th, the festival will feature 14 concerts, to take the pulse of the jazz that is made today, and which will be divided between two auditoriums of the foundation. Peter Brötzmann returns to Jazz in August in a trio format, accompanied by drummer Han Bennink, and pianist Alexander von Schlippenbach. The 37th edition of Jazz em Agosto, from July 29th to August 8th, will be contaminated by the continuous invention of the gift by 80-year-old German saxophonist and artist Peter Brötzmann, and by the 1968 album “Machine Gun”. This post is also available in: Português (Portuguese (Portugal) )
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