Nothing of the former sets hinted at the coming savage eruption of Peter Brötzmann's unbridled trio, "Full Blast." Brötzmann gained a justified reputation as one of the loudest players on this planet, but this trio, one of his most active outfits in the last two years, raises the stakes as even louderin fact, probably the loudest of all his outfits, past or present. Composed of "my best young friends," as Brötzmann called them, Swiss five-string electric bassist Marino Pliakas and fellow Swissthe Berlin-based drummer Michael Wertmüllerboth a generation younger than Brötzmann and both sounding and appearing to be well- versed in the more aspiring directions of metal music (see his recent self-titled debut album on the German label Jazzwerkstatt).
From the first violent riffs of Pliakas on the electric bass and the fervent barrages of Wertmüller on the drums it was clear that this trio lives by its name. The two erected a resistant, defiant wall of sound for Brötzmann who, undiscouraged, jumped right in and screamed with the bass clarinet, totally absorbed by the masses of sound and clearly enjoying it. The tsunami of sounds engulfed the enthusiastic, excited audience, especially when Brötzmann pushed gears and began to play the louder alto sax and his louder- still tenor sax, sometimes stopping for a few seconds to catch his breath or to let Pliakas and Wertmüller find new defensive positions before his next assault, quite often including in his voluminous weaponry short quotes from musicals! There was nothing to do but surrender to this amazing performance, expressing the artist's total, uncompromising belief in the sheer physical power of sound to transform the listenertons of deafening yet paradoxically blissful sounds that keep me smiling even now when I think about this exceptional trio. "Will the music ever end?" Not when played at this intensity!