Lost & Found finds iconic free jazz reedman Peter Brötzmann recording both solo and live for the first time ever. Throughout the 50-plus years of music-making, his live recordings are probably the best at capturing the essence of this great man's passion; and further, hearing him without accompaniment is a direct line into his thoughts.
Previous solo efforts like this one are found on Free Music Production, a label he helped christen with Jost Gebers in 1969. As with Solo (FMP, 1976), No Nothing (FMP, 1991), Nothing To Say (FMP, 1996), Right As Rain (FMP, 2001) and 14 Love Poems (FMP, 2004) Brötzmann plays multiple instruments. Here, he adds a searing alto saxophone to tenor saxophone, b-flat clarinet and his trademarked tarogato.
This magnificent recording's signature piece might just be the stream-of-consciousness "Got A Hole In It." Brötzmann opens with an insistent tenor attack that whistles into the upper register until a sense of exhaustion is felt. He then softens his tone, firing quick twisting lines that turn into familiar snarls before ending the track with a version of Thelonious Monk's "Crepuscule with Nellie." With this musical stroke, the avatar of free jazz reaches into jazz history, simultaneously coupling his original expression with perhaps the most pioneering and unorthodox voice ever to make music.
Track Listing: Internal Rotation; Lost & Found; Universal Madness; ...Got A Hole In It;
Personnel: Peter Brötzmann: alto sax, tenor sax, b-flat clarinet, tarogato.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.