Two City Blues 1 by BRÖTZMANN LP Avantgarde FMP
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Description
Ich löse meine LP Sammlung auf (unsere Familienplanung lässt mein Hobby leider nicht mehr in dem Maße zu, wie dies früher für mich noch möglich war) .
Daher biete ich an:
Two City Blues 1 von BRÖTZMANN / HAINO KEIJI / Jim O'ROURKE
FMP -Publishing
Recorded At Shinjuku Pit Inn, Tokyo, 23rd November 2010 by Yasuo Fujimura,
mastered by Martin Siewert
Trackliste
A Two City Blues 116:10 B Eyes Stay The Same
22:02
Deshalb Neuzustand!
Jazz LP aus privater Sammlung !
File under: Modern Jazz / Avantgarde
Keine Garantie / Gewährleistung / Rücknahme nach EU-Recht, da es sich hier um einen Verkauf aus Privatbesitz handelt.
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Weltweiter Versand möglich, Versandkosten bitte anfragen!
Paypal possible, too!
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Info aus dem Netz, bezieht sich allerdings auf Vol. 2 (gilt weitgehend auch für Vol.1), also Two City Blues 2 by BRÖTZMANN / HAINO / O'ROURKE (ich biete Vol. 1 an !)
The music of legendary jazz saxophonist Peter Brötzmann is at its finest when the great man has something to push against. Typically these performances find him collaborating with drummers like Hamid Drake, Paal Nilssen-Love, Steve Noble, or Nasheet Waits. The music is built upon a power-versus-power formula. The drummer bloodies his nose, and he's off—throwing roundhouse punches and haymakers.
It's something altogether different, and just the same here, where he is in the company of two guitarists, Jim O'Rourke and Keiji Haino. Recorded in 2010 at Tokyo's Pitt Inn, two nights are represented with the LP Two City Blues (Trost, 2015) and the CD Two City Blues 2 (Trost, 2015).
While this appears to be the first recorded collaboration with O'Rourke, Haino and Brotzmann have a long and significant history, releasing Evolving Blush Or Driving Original Sin (PSF, 1996), Shadows (DIW, 2000) with drummer Shoji Hano, and the monstrous 3-CD Fushitsusha outing Nothing Changes No One Can Change Anything, I Am Ever-Changing Only You Can Change Yourself (Utech, 2014).
The one-two of O'Rourke and Haino give these two discs their rich color. The pair jostle and joust around picked notes, slurred pedal steel guitar. Brotzmann is game to go a-hunting here, as he holds back, back until the pair of guitars decides to cut themselves free. Once they spark off, the energy cannot be held back on the LP. The two sides traverse the heights of energy like two fighters (in this case three) with wobbly knees leaning on each other in the 10th round.
"Two City Blues Two" gives us the tour-de-force of this collaboration. The 49-minute title track meshes the O'Rourke's blues slide guitar, Haino's traditional Japanese three-string shamisen, and the blues-soused saxophone of Brotzmann. Haino adds his tormented vocals as O'Rourke fires his Sonny Sharrock-like machine gun guitar. The piece journeys through hills of energy and valleys of placid dreams. Noise energy intrudes and exits and a prayer-like grace hovers, before the blues returns and Brotzmann's urgency spurs on the affair. Ethnomusicologists could make a career sorting this one out.
Personnel: Peter Brötzmann: tenor saxophone, alto saxophone, taragato, B-flat clarinet; Jim O’Rourke: guitar; Keiji Haino: guitar, voice, shamisen.
Year Released: 2015 | Record Label: Trost RecordsDito:
Peter Brötzmann, Keiji Haino, Jim O’Rourke – Two City Blues 2
This is probably best appreciated not as a new Peter Brötzmann album, but as fruit of the enduring partnership of Keiji Haino and Jim O’Rourke. Yes, Brötzmann and Haino also have their own history, and the main performance here is ultimately stamped with the German saxophonist’s imprimatur, but it’s Haino and O’Rourke who jointly seem to determine the course and dynamics of the main performance, which was recorded at Shinjuku Pit Inn, Tokyo, one night in November 2010.
“Two City Blues 2” (49:10) begins atmospherically: Smears of slide guitar pricked by finger-picked Shamisen and curlicuing alto sax – a Blind Willie Johnson Texas blues, relocated to Japan. Then Haino introduces a constricted vocal, O’Rourke taps into the power supply, and Brötzmann begins to play more harshly, in anguished, compacted phrases.
O’Rourke patterns short runs, increasing tempo until they become rhythmic and Haino’s three-stringed Shamisen is pulled into sympathy, and Haino and Brötzmann trade raw vocalisations. The rhythms of the string instruments run in parallel then pull apart, sparking saxophonic licks, before contracting once more, slowing to almost nothing; just Shamisen picking over harmonica-like shimmers of what might be feedback sax.
Brötzmann then plays a lovely, thoughtful colloquy against O’Rourke’s increasingly reverbed atmospherics, and Haino re-enters on guitar with a complimentary semi-acoustic tone, adding a new layer to the overarching rawness. The pace is ponderous now, but emotions are running high.
The heart of this extraordinary, forty-nine minute long performance is a ghostly miasma, a howling wind of FX’d guitar and eerie vocalese. It builds, threatens, and suddenly abates into a wordless Haino vocal lapped by guitar. Haino’s voice is lost in introspective incantation while ghosts of Americana sound in the guitar, till O’Rourke begins to tap on strings, enticing Haino into breathy staccato rhythms that ebb gently away.
Brötzmann is now exposed, muted and grizzling. Both O’Rourke and Haino rejoin, initially searching, needling and riffling for the right compliment, gradually conjoining as twined live-wires. Brötzmann firms up, a bit bolshier now, and imposes a melodic lick, and O’Rourke comes back at that with a screed of distorted tapping-on while Haino adds grit with fuzzed chords.
As the mix thickens, O’Rourke switches back to a thinner, more wiry sound, threading through Brötzmann’s increasingly full-throated intonation until, at the close, the mood is bluesy and Ayleresque, with their twinned hymnal clearly evoking Albert and Donald Ayler’s slightly off-kilter but deeply sympathetic partnership, co-opting its emotive heft.
Just one more piece: “One Fine Day” (06:04) stays close to the steady pacing of the main set. It’s a needling, rebarbative performance with both Haino and O’Rourke on electric guitars sand-blasting a hole in Brötzmann’s over-arching tenor sax solo. He emerges combative from the embers to counter raw noise with exhortation, but O’Rourke ultimately wraps everything in another sudden swarm of tapped-out notes.
This is great stuff. Three well-blooded improvisors yielding in commitment to another new context. It’s a distinctive entry in the ever-burgeoning catalogue of Brötzmann’s recorded work, and valuable in that sense, but is even more intriguing as a new branch of Jim O‘Rourke and Keiji Haino’s trioism with Oren Ambarchi and, as Nazoranai, with Stephen O’Malley.
Two City Blues 2 presents only one of the two sets recorded at Shinjuku Pit Inn that night in November 2010. It is available only on CD. A companion release, Two City Blues 1, will be available, only on vinyl, from February 2015.
Personnel
Peter Brötzmann: alto/tenor-saxophone, tarogato, clarinet; Jim O‘Rourke: guitar; Keiji Haino: guitar, voice, shamisen.
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