Peter Brötzmann is reunited with Japanese drummer Shoji Hano and guitarist Keiji Haino for a European tour last March. This live date recorded at Wels, Austria is about as raw and true a musical expression as it gets. Brötzmann has recorded and worked with each musician separately. He recorded Dare Devil (DIW) in 1991 with Hano and has previously toured with Haino. This date composes a synthesis of Brötzmann's freedom and energy and Haino's abandon.
Guitarist Keiji Haino can probably be best described as a cross between Sonny Sharrock and Derek Bailey with an emphasis on noise. His shredded guitar plus the yelling and shrieks add up to (not an ABC mini-series) some monster music. Haino's drumming passes on timekeeping for infective rabble rousing. If this date were a soccer game, they would call out the dogs.
It?s not that this is all energy music, the trio gets philosophic when Brötzmann picks up the clarinet. Haino adapts a Frisell-like sound and calm is reached. But soon we are once again practicing the cathartic waltz. Played loud this disc has emotive power. But played at a low level (not that Peter and company ever contemplated this), sympathetic textures appear. The music is calming, bountiful, and handsome. I guess you can get the same effect at higher levels, it just never occurred to me.
Track Listing: Shadows: Part 1; Part 2; Part 3; A Silhouette; Encore.
Personnel: Peter Br
| Year Released: 2000
| Record Label: DIW
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.