THE PETER BROTZMANN OCTET FREE
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Title song almost 18 minutes long is played by sextet - with second tenor sax by Evan Parker, Derek Bailey on guitar,pianist and rhythm section. Just two compositions, one on each vinyl LP side (CD re-release contains one bonus track). Re-released on CD, it became much more accessible, and in part it destroyed the legendary album's image. Peter Brotzmann's "Nipples" for years if not for decades was a cult rarity of early European avant-garde jazz. Self-released with minimalist packaging and quite good sound/mix quality it was designed for sale at concerts.By its content it's far not just casual memorabilia though - from very first sounds you are blown by sound viscosity built with deep and rich electric bass and complex thunder-like drumming (both Pupillo and Nilssen-Love have their roots more in avant-garde rock /improvs than in avant-garde jazz).īrötzmann himself sounds probably less angry than 40 years ago, but no way less angular or explosive and for sure more mature.During almost half of century he recorded lot of albums and collaborated with virtually ever significant musician from the radical wing of European/world avant-garde jazz, but even after so many years and having so huge musical legacy, albums like "Roma" still sound fresh and still wonder the listener. "Roma" is three-improves containing self-released live album of Peter Brötzmann's trio (with two other highest class European radical avant-garde musicians - Norwegian drummer Paal Nilssen-Love (The Thing,etc,etc) and Italian electric bassist and Zu band member Massimo Pupillo)recorded during traditional concert at Casa Del Jazz in Rome. Forty(!) years later, in his late 60s, Brötzmann still demonstrates uncompromising music of almost same level of energy. Peter Brötzmann took European free jazz scene by force with his "Machine Gun" album in 1968 - far not every trash metal band of next generations demonstrated such explosive angry and energetic sound.
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