3/16/2024 0 Comments Cubus records![]() ![]() This reflected a cultural temper – more emotional than aesthetic – particular to post-war Germany, as well as the internal dynamics of his trio with Han Bennink and Fred Van Hove, but he has long since moved on from this. ![]() There was a time when Brötzmann’s music quite consciously rejected tradition, as if starting from a clean slate, and favoured the anarchic. The performance was given during the Festival for Improvised Music in October, 2013 at the Münster (Cathedral) of Bern: a generous acoustic in which the full colour and nuances of Brötzmann’s playing are revealed, as seldom before. This can be heard most starkly in his solo recordings, now a significant body of work ranging from Solo (FMP, 1976) through Nothing To Say: A Suite of Breathless Motion Dedicated to Oscar Wilde (FMP, 1996) and Petroglyphs (Long Arms Records, 2004) to Solo + Trio Roma (Les Disques Victo, 2012) to which there can now be added Münster Bern, possibly the most impressive yet. His limitations are his strengths: an expressive rawness free of any suggestion of slickness or flim flam. Peter Brötzmann – who is quite candid about his technical shortcomings – is a good example. Great musicians are often less skillful than mediocre ones. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |