Full Blast - Black Hole (2008)

Atavistic Records: ALP187 http://www.atavistic.com/albums.php?id=473 * Peter Brötzmann: b-flat clarinet, tarogato, alto saxophone, tenor saxophone * Marino Pliakas: electric bass * Michael Wertmüller: drums - http://www.peterbroetzmann.com/ - http://www.marinopliakas.com/ - http://www.michaelwertmueller.com/ 01. Black hole (02.27) 02. Suzy (03.40) 03. Ellis (06.27) 04. Alice (03.42) 05. String (03.01) 06. Atlas (06.26) 07. Protoneparcel (10.35) 08. Higgs (04.27) 09. Teilchencrash (02.32) 10. Large Hadron Collider (05.57) 11. Quarks up/down (03.07) Reviews ~~~~~~~ By Garnaalpisser - © stef http://freejazz-stef.blogspot.com/2009/12/sax-trios.html Recorded in March 2008 at Radio Studio Züric, the titel of the album defines the music quite well, although on the second track, "Suzy", Brötzmann plays quite softly, melodically and sensitively over the wild powerful bass of Marino Pliakas and the unrelenting drumming of Michael Wertmüller. But don't worry, Brötzmann fans will find plenty to enjoy here, but it must be said, the quieter parts, as on "String", or on "Protoneparcel" on which he plays tarogato suit him quite well, showing a more sensitive and subtle face. All track titles are related to the extreme experiments of particle physics that took place at CERN in Switzerland last year, in search of the Higgs Boson particle, an experiment which, some claimed, could have devastating results including the creation of a black hole in which everything (EVERYTHING!) would disappear, an inspiring concept to Brötzmann, Pliakas and Wertmüller, who are the ideal band to accompany this event, in analogy to the string ensemble that kept playing while the Titanic went down. Strong double CD! CERN http://en.wikipedia.org/wiki/CERN By Thom Jurek http://www.allmusic.com/album/black-hole-r1466358 The Full Blast trio includes Peter "Superlungs" Brötzmann on reeds and winds, electric bassist Marino Pliakas, and drummer Michael Wertmüller. The trio issued an intense workout that was recorded in 2006 on the German Jazzwerkstatt imprint and featured five untitled improvisations. This second offering was recorded at Radio Zurich over two days in March of 2008. By contrast, there are 11 pieces here, the vast majority structured almost like proper tunes -- yes, they are titled -- and range from two and half to six and a half minutes, most of them on the shorter side of the scale. There is one long workout entitled "Protoneparcel" in the middle of the recording. Whereas Full Blast's self-titled debut felt very much like a Brötzmann solo offering with sidemen, this date feels very much like a collaborative effort. The relative comfort of the individuals with one another is quite amazing, given the powerful musical personality of Brötzmann. The electric bass of Pliakas is the real glue in these proceedings: it has enough of a dynamic range to actually engage the different sides of the saxophonist's nature. Wertmüller is a drummer of extreme dexterity and range, though his muscular approach to the kit recalls both Milford Graves and a younger Billy Cobham. His rim shots, which occur with constancy, are actually a trademark. Perhaps it's because of the flexible but powerful nature of the rhythm section that Brötzmann is able to engage different aspects of his other side -- B-flat clarinet is played as much as the tenor saxophone, and his alto and a tarogato are heard here with regularity as well. The set kicks off with the title track, a brief wall of skronk that recalls Brötzmann's days with Last Exit (minus the guitar, of course), but the hyper-rolling bassline of Pliakas is amazing -- he sounds more like a speed metaller than a vanguard jazzist. But the shimmering snare breaks that kick off "Suzy," with popping basslines under every one of Wertmüller's phrases, usher in a very restrained Brötzmann on clarinet and hint that there is something different afoot. No matter how intense the rhythm section becomes, Brötzmann remains focused on his constructed and very restrained melody even as his tones grow longer and shift registers. The knotty, intricate polysyllabic scalar line that introduces "Alive" is at a furious tempo, but it feels more like mutant bebop with a nearly discernible "melodic" line through the first couple of minutes, even as Pliakas gets near funky in his bass runs. The shifts, canards, and tricks go on for the entire record, providing plenty in this vanguard free jazz fest for you to sink your ears into over and over again. This is free music at its best: fire, fun, and further exploration of the heretofore unknown.

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summer1967love (2011-12-03)

I'm down with it. Thanks again. You seem to have scored almost every notable jazz album in 2011. The cutting edge, the avant garde, the tip of the spear. I'll follow you...