Bereits auf BRÖ/Eremite erschienen:
PETER BRÖTZMANN & JASON ADASIEWICZ – Mollie’s In The Mood (Brö 5/Eremite)
Brötzmann – alto & tenor saxophones, b-flat clarinet, tarogato
Adasiewicz – vibraphone
Side ‚A‘
1. Seasons May Vary
2. ‚Round the Sun
Side ‚B‘
1. Mollie’s in the Mood
Volcanic TongueStunningly produced limited edition vinyl in a one-time only run of 600 copies with hand pulled screen printed covers on heavyweight Stoughton laser disc sleeves by Alan Sherry of SIWA: only the third LP on Brö since the label’s revival, Mollie’s In The Mood is the follow-up to the duo’s tour-only CD, Going All Fancy and it is a monster. Adasiewicz is the most original voice on the vibraphone this side of the MJQ and his playing with Brötzmann has been a revelation for both of them. Recorded live at the Hideout in Chicago in September of 2012 and engineered by Michael Ehlers, this staggering set presents three tracks, with Brötz flitting between alto and tenor sax, b-flat clarinet and tarogato. Brötz’s tone is wounded, reminiscent of the amazing Never Too Late-era, with Adasiewicz flitting between fuzzy single note batteries and clattering percussive clusters. Rather than leaning back, Brötz pushes deep into the overtones of the vibes, playing rough and pleading and testifying with all the gospel force of a Frank Wright. The sidelong “Mollie’s In The Mood” may be the most ‘romantic’ Brötz performance of recent years, 19 minutes of pure lover man sex and outrageously beautiful black blues that are so lewdly suggestive and body centred that it makes you forget that anyone ever invented the term ‘improv’. A monster set, beautifully assembled, two musicians at the peak of their powers, very highly recommended!
The WireA weighty disc in every way — a substantial piece of vinyl, with music of unusual depth. Vibraphonist Jason Adasiewicz plays seamlessly across inside & outside contexts, his rich, deep resonance deploying sustain full on. Even so, you’d think, a lonely vibraphone would be overwhelmed by Brötzmann’s stentorian tenor. But even while Brötzmann modulates his attack, Adasiewicz somehow matches him at full force, & it turns out to be a wonderfully simpatico partnership. Rambunctious tenor on „Seasons May Vary“ are met with sonorous chords from the vibraphonist: the track’s conclusion sounds especially Ayler-ish. „Mollie’s in the Mood“ features tenor playing as gently vibrato-laden as Coleman Hawkins, & it’s when he switches to alto saxophone that Brötzmann’s sound becomes huge. Perhaps unexpectedly, one of the musically richest releases in the Brötzmann catalogue.
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...