German reedman Peter Brötzmann has probably received the most attention stateside for his ongoing Chicago Tentet, which at about a dozen records in almost as many years, has certainly steeled itself as one of the longest-running and prolific creative large ensembles in recent memory. As much as regular working groups provide insight into an artist’s process, it can be hard to keep the muse’s momentum going – side projects and rare meetings offer freshness and, sometimes, respite from a catalog that borders on the expected.
Gothenburg-based drummer Peeter Uuskyla has collaborated with Brötzmann in various groups over the past decade, and came into his own working with Swedish enfant terrible, altoist Bengt “Frippe” Nordstrom, and his own Acoustic Sculpture unit. The two-disc Born Broke is the intercontinental pair’s first duo recording. Though stylistically worlds apart, the most apt comparison for Uuskyla might be Sven-Ĺke Johansson, for both percussionists have uniquely pared-down styles rooted in subtle variations of form and increasing density of attack. Though the carpet he provides may not be an ornate rug a la Louis Moholo or Hamid Drake, it’s a resolute launching pad for Brötzmann’s gruff pyrotechnics. There’s certainly something to be said for the fact that the drummer’s unaccompanied section on the title track isn’t part of a “kitchen sink” aesthetic – it’s a simple extrapolation on basic rhythmic principles, crisp and unadorned variation.
The reedman sticks mostly to tenor on this set, though the title track has a bit of his deep and delicate clarinet in its second half, adorned with snare, brushes and the occasional metronomic kick. Uuskyla provides something of a resting pulse, steadily but slowly increasing to a light jog as Brötzmann roils in winnowing wood. It’s easy to forget that the elder statesman of full-bore reed skronk has an affinity for the liquid purr of big-toned swing saxophonists as much as he approaches nerve-wracking frequencies. His clarinet work on the title track is imbued with as much softness as “Beautiful But Stupid” is with edgy, false-fingered saxophone blurs. He's balanced between the two poles on "Dead and Useless," a nearly forty-minute take on the Wuppertal hard blues. Borne Broke may not afford one a lot of spare change, but it doesn’t need to – it’s a limber, fat-free session of hard-driving jazz.
Posted by clifford on February 29, 2008 6:54 PMClifford-
Thanks for writing this up; maybe we have slightly different takes on it. I wrote this over at jazzcorner:
A very nice release. Uuskyla, who I was previously familiar with via his work with Brotzmann on 1999's (?) Noise of Wings is another in a string of drummers who have brought out different things in the Brotz as of late. Much like his duo record with Nasheet Waits from 2005, Uuskyla employs a loose and free sense of rhythm, playing with authority on this stripped-down kit, but not trying to bash through the drums with hard hitting and press rolls a la some of Brotz' past partners (Shoji Hano, anyone?). Brotz's recent work with drummers like Waits and Uuskyla have revealed a slightly more morose side of his playing. Rather than being the loud and brash player that we hear on his Die Like the Dog records (or even last year's The Fat Is Gone with Gustafsson + Nilssen-Love), he displays more of a tendency to play with a woozy and plaintive tone, eschewing volume for what passes for a more tender aesthetic. I am not saying that Brotz has gone Paul Gonzalves on us, but this record and the Waits duo have a lot in common in regard to a more mellow sound, and have showed me that perhaps the old dog is learning some new tricks.
Hey folks, just chiming in to report that the Brotzmann/Bennink concert here in New Orleans was a real smash. Packed house even in the midst of the numerous distractions of JazzFest, rapt audience, and some passionate reviews already - including this one from Alex Cook with photos =
http://outsideleft.com/main.php?updateID=1050
And I concur that there's some different qualities in Brotz's playing of recent times, although there's evidence of it in earlier recordings too (14 Love Poems, for example). The general impression was that this was one of the strongest concerts of the tour and an ideal place for them to cap it off. The drummer who provided drums + I positioned the house piano behind Han deliberately to subtly tempt him to use it and he went for it a bit. All in all quite a night, and a real inspiration to hear them both playing so strong.
Posted by: Rob Cambre at April 30, 2008 10:54 AMIf musicians can hold it together physically we supposed to get better as we get older.
I just saw a fantastic Lee Konitz trio gig with the young (23!) bassist Matt Brewer and Joe LaBarbra. It was first rate jazz playing. I think Konitz is 80 or near it.
I liked BORN BROKE a lot, but ... even better was MEDICINA (Brotzmann/Uuskyla + Peter Friis Nielsen on electric bass; I think that's the same personnel as NOISE OF WINGS, which I haven't heard yet). MEDICINA is one of my favorite Brotzmann discs.
Speaking of Uuskyla:
He's also a long-time member of Biggi Vinkeloe's trio (with Barre Phillips, Peter Kowald or Peeter Friis Nielsen); they have at least four CDs, IMO all quite wonderful. (Here's a mystery: why doesn't Vinkeloe get more attention?)
Has anyone heard Uuskyla's solo percussion record? Worth picking up?
Posted by: Bill_R at May 1, 2008 1:45 PMThumbs up on the Brotzmann/Bennink tour from here in Houston. My first time seeing them, so it was a real treat. Couldn't get the smile of my face.
Posted by: Michael C. at May 2, 2008 1:59 PM.................................................. © 2003 - 2006 bagatellen ..................................................