Jazz / Free Jazz
Indie / Rock
"Their 5th album finds the band in a studio again, in their label Trost Records hometown Vienna, with time and the desire to try something new. Seven compositions in the disctinctive strong FULL BLAST nature get an exciting electronic treatment by Michael Wertmüller (sounds/electronics by Gerd Rische- head of Berlin Acadamy of Electro-acoustic Music 1995-2014) during and after the recording.
For mixing the band decided to work with Gareth Jones (well-known for his work with Einstürzende Neubauten and Depeche Mode), whom they have used with Pliakas‘ Band Steamboat Switzerland before.
FULL BLAST created an album that in his nonconformism and richness in variety stands on his own in contemporary jazz."
Peter Brötzmann / reeds
Marino Pliakas / e-bass
Michael Wertmüller / drums
Gerd Rische / electronics
CREDITS:Recording: Martin SiewertProduction: Konstantin DrobilMix: Martin SiewertMastering: Martin SiewertArtwork: Peter Brötzmann
Full Blast – Risc
"Wild free jazz grooves, another monster of an album from the trio of reedist Mats Gustafsson, bassist Ingebrigt Haker Flaten and drummer Paal Nilssen-Love with guests Anna Hogberg on alto sax and Goran Kajfes on cornet; intense, passionate, and precise."
Mats Gustafsson / tenor & baritone saxophones
Ingebrigt Håker Flaten / electric & double bass
Paal Nilssen-Love / drums, percussion
Additional guests on Aim:
Anna Högberg / alto saxophone
Goran Kajfes / cornet
Recorded June 1st and 2nd 2015 by Jørgen Træen at Duper studio, Bergen Norway. Mixed June-July 2015 by Johan Berthling and Andreas Werlin, Stockholm Sweden. Mastered by Lupo at Calyx Mastering, Cover by Lasse Marhaug.
The Thing – Shake
"Consisting of Mats Gustafsson (sax), Ingebrigt Haker Flaten (bass), and Paul Nilssen-Love (drums), this trio plows through nearly 40 minutes of improv across three tracks."
"The Thing is still archetypal free jazz/rock of the 21st century - it’s a group you might recommend to someone who wants to explore a more adventurous genre, although they work for experienced listeners as well. I’m surprised how this band wins me over again …. and again." Free Jazz Blog
Mats Gustafsson / tenor & baritone saxophone
Ingebrigt Håker Flaten / electric & double bass
Paal Nilssen-Love / drums, percussion
Recorded July 2nd and 3rd, 2017 by Øyvind Gundersen at Studio Paradiso, Oslo Mixed October 2017, by Andreas Werliin at Repeat Until Death, Stockholm Mastered by Lupo at Calyx mastering, Berlin Liner notes by Brian Morto.
The Thing – Again
French guitar player Boni teamed up with legendary US jazz-musician McPhee in the early 80s for some intense cooperations and albums (as a duo and as a trio with Andre Jaume).
The complete concert inspired by the words of Eric Dolphy: "When you hear music, After it's over, It's gone, In the air, You can never capture it again."
Joe McPhee / soprano saxophone, electronics and voice
Raymond Boni / Electric guitar and electronics
Recorded at Hulsey Recital Hall on the University of Alabama at Birmingham (UAB) campus. April 20,1985
Joe McPhee & Raymond Boni – Live From The Magic City
"A giant two day meeting of three outstanding musicians German legend Peter Brötzmann is one of the leading saxophone players in the current international free jazz scene, continuing to tour and release with various musicians. Keiji Haino – japanese avantgarde wizard, mesmerizing with voice and guitar. Jim O’Rourke –outstanding composer, from ambient to free jazz to rock."
Peter Brötzmann / alto/tenor-saxophone, tarogato, clarinet
Jim O‘Rourke / guitar
Keiji Haino / guitar, voice, shamisen
Recorded At Shinjuku Pit Inn, Tokyo, on November 23, 2010
In memoriam: Yasuo Fujimura.
Thanks to Kanji Suzuki & The Pit Inn Staff, and Mark Rappaport.
Peter Brötzmann, Jim O'Rourke, Keiji Haino – Two City Blues 2
"Hermann Nitsch playing the church organ in the Jesuit church of Vienna, November 20th, 2013. Four heavy drone pieces, mastered by Martin Siewert. These four tracks of Nitsch performing solo on organ are made of sustained drones that are soothing and intense. Music is beautiful and meditative, as it slowly evolves and transforms, full trills that shimmer with celestial light and glide slowly into one another in a harmony that's at the opposite of Nitsch's jarring and disturbing Aktion pieces, though with a similar droning minimalism aesthetic."
1. Satz 1 - 16:04 2. Satz 2 - 13:16 3. Satz 3 - 11:54 4. Satz 4 - 13:00
Hermann Nitsch – Orgelkonzert Jesuitenkirche 20.11.2013
"On a peaceful summer evening in 2002 in the small village of Brösarp in Scania, twelve two- and three-cylinder tractors from the 1950s and 60s were positioned in a semi-circle at a fruit plantation and the sounds of bells ringing can be heard. Before an enthusiastic audience of 1000, the old tractors started their engines and pressed the gas pedals while idling. They raced, purred, played, and sang in the sunset. The landscape in Brösarp is a cultural landscape. With plow, horse, and tractor, it has been created by people. The efforts of generations can be read therein. A cultural landscape is a narrative of the work of people, of their villages and material conditions. Forty and fifty years old, the tractors in Johansson's work are already stories in themselves, and the audience gazes on this evening over a landscape that will soon be a sparsely populated area where not a tractor plows and not a cow grazes. One could thus experience the tractor concert as requiem and lament for a region on its way to disappearing. The tractors sing of a time that has escaped. But if there is no memory, then there is no future. As such, the Konzert für 12 Traktoren is also a work as laudation of work. By the way: if you project a Nuffield 342 faster than light, your vision goes black."
Erland JosefssonKlas BerndtssonLars-Erik OlssonSimon NeumerMagnus HildessonUlf OlssonAnderz ErlandsonPeo LarssonMorgan OlssonChrister OlssonJenny OlssonBo Isaksson
12 "Zetor" tractors directed by Sven-Åke Johansson
Recorded by Mikael Forsman, Orust, Sweden, 2009.
Sven-Ake Johansson – Konzert für 12 Traktoren
At The Hill Of James Magee presents the duos complete performance at the extraordinary monument "The Hill" in the Chihuahuan Desert in the middle of nowhere in Texas. John Butcher and Joe McPhee had never shared a stage before which ended up being an attentive collaboration, starting with a long duo, alternating solo performances, and closing the atmospheric set with another duo.
"The four solo pieces are advanced clinics in saxophone technique, again supplemented by architecture and wind and weather. Each performer invited the desert into their sound, giving the listener the feel of sand between our toes and the visual of sage brush rolling by." - All About Jazz
Joe McPhee / alto saxophone
John Butcher / tenor saxophone
McPhee, Butcher – At The Hill of James Magee
"Stephen O’Malley teams up with one of the leading drummers of the avantgarde scene, Steve Noble, to build hypnotic soundsculptures and drones."
"Despite the overall linearity of the performance, there’s plenty of nuance and dynamic sensitivity at play in its relentless crescendo."
Steve Noble / drums & percussion
Stephen O'Malley / guitars & amplifiers
Recorded at St. Francis de Sales, Philadelphia, PA, May 19th 2014. Artwork by Peter Brotzmann.
St Francis Duo – Peacemaker Assembly
"Zu has always been a mercurial and ever-changing entity: unafraid of cross-genre explorations, eager to break down barriers between musical styles. Despite playing traditional instruments, major influences on Zu's music have always been sonic explorers like Coil, Throbbing Gristle, or early Neubauten. The sound of The Left Hand Path is the somewhat hidden side of Zu, though latent in all of its previous music. It's like digging out a box from the earth, containing everything the band had wished to highlight in previous works: ambient and droney landscapes; acoustic explorations in obscurity. The album starts programmatically with the sound of a shovel digging the earth -- a soundtrack for a descent into the underworld. It's moon musick. All of the members played electronics and Massimo focused mostly on guitars. The recordings were then sent to Eugene S. Robinson of Oxbowfame. Zu knew he was the right person to add vocals to it, and to transform the music again, into a sort of contemporary post-everything voodoo blues."
Jacopo Battaglia / electronics
Massimo Pupillo / electronics, guitar
Luca Tommaso Mai / saxophone, electronics
Eugene S. Robinson / vocals
Zu + Eugene Robinson – The Left Hand Path
"There is complexity in simplicity, and Sparrow Nights is Peter Brötzmann and Heather Leigh's most enduring record to date, and their first studio album. A series of emotionally rich and boldly elucidated tonal and timbral exchanges played like compositions on pedal steel and reeds, the tracks (released as a 6 track LP and 10 track CD) are cold-forged minimalist blues motifs dragged from instrumental laments. After three years playing together Brötzmann/Leigh's connection and understanding is by now both cerebral and deeply invested in the physical and sensory possibilities of their combined sound, while retaining a melancholic distance. Within this duo there is fluidity – neither is the anchor – and these recordings sound with as much variety as the sea. At times Sparrow Nights carries the clarity and poeticism of still water and open horizon ("This Word Love"), and at others it contains the elemental and ferocious roar of white water breakers on black rocks ("This Time Around"). On their previous three live albums (Ears Are Filled With Wonder, Sex Tape, Crowmoon) the duo have developed an intimate and intense language that manifests here as a focus on power and control, where figures blasted of unnecessary decoration are drawn from the shadows and smoke of collapse. The studio setting also allows Brötzmann to bring a broader range of reeds than in live scenarios: where previously he has played primarily tenor, clarinet and tarogato with Leigh, here he delivers the heat of alto and the low pressure of bass saxophone and clarinet. Brötzmann’s duo with Leigh continues to trace a fresh new arc in his trajectory, and this release also falls at a time when Leigh releases Throne, her most song-based record to date. Here as a studio duo they play a new-old blues for times of complexity, noise and chaos, continuing to redefine and re-sound possibilities for improvised music."
Peter Brötzmann / Heather Leigh – Sparrow Nights
"The soulful and grooving play of Ken Vandermark (one of the key musicians/composers in the current free jazz scene) on reeds with the filigran electronic distortions and loops of Christof Kurzmann, with a solid rhythm layer by the young Dutch bassist lloopp Jasper Stadhouders and drummer Tim Daisy. An unusual "jazz" record, fascinating so much the more.
Ken Vandermark / reeds
Christof Kurzmann / electronics, lloopp
Jasper Stadhouders / bass
Tim Daisy - drums
Recorded, mixed, and mastered by Bob Weston.
Made To Break – Trebuchet