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Live Reviews
Peter Brotzmann Chicago Tentet in Amsterdam, February 13
John Sharpe
John first fell under the spell of free jazz in the 1970s when he wistfully regarded the loft jazz scene from across the AtlanticFrom a dual percussion onslaught, the second piece morphed into a knockout duet between Johannes Bauer and Lonberg-Holm, with the trombonist vocalizing into his horn, sounding like electronic sampling, before unveiling a compendium of extended techniques with slobbers, barks, growls and susurrations, forcing Lonberg-Holm to respond in kind with all manner of plucks and abrasions. After a fine outing with a plunger mute by Bishop, and some sanctified tenor from McPhee, the horns coalesced for a chorus of ragged Americana, over which Brotzmann wailed on tarogato. Out spewed a beautiful song of regret, experience and compassion for a wonderful ending. Is this the man sometimes characterized as a one dimensional energy player? How wrong can you be!
One section in the final piece cast light on some of the bands working methods: Midway through, Vandermark settled on a motif, contrasted with spluttered asides. As he insistently repeated the phrase, the other horns began, one by one, to squeal and squawk over a powerhouse rhythm in response, until they had conjured a stomach- churning furore. Instant composition in action. Brotzmann's clarinet spun out over the top as everyone quietened for a graceful conclusion, followed by an upwelling of tumultuous applause. Eleven years and still going strong.
Photo Credits
John Sharpe
Photographed musicians:1) l:r Ken Vandermark, Fred Lonberg-Holm, Johannes Bauer, Michael Zerang, Conrad Bauer; 2) Joe McPhee and Peter Brotzmann; 3) Kent Kessler and Jeb Bishop
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