| 1. Part 3 |
| 2. Part 4 |
| 3. Part 5 |
| 4. Part 6 |
Editorial Reviews
From Jazziz
Die Like a Dog is saxophonist Peter Brotzmann's salute to Albert Ayler. Tribute projects are usually less than memorable, but this quartet, and particularly this performance (at 1997's Total Music Meeting in Berlin), was different. William Parker, lynchpin of New York's free-jazz scene, plays bass. His sound - stumpy, impactful, dense - suggests the hajouj from Morocco or the inanga from Burundi, instruments that require physical input if they're to sing. Chicago-based drummer Hamid Drake also favors thumping, hand-on-skin sonorities. This ethnic feel is not mere coloration; it's in the beats, too. Both pursue the polyrhythmic universalism of late Coltrane. Unlike Ayler's rhythm sections, which tended to respond congregation-style to the soloist, Parker and Drake sketch a firm yet accommodating metrical grid. Trumpeter Toshinori Kondo uses electronic effects, shooting the air full of sonic shrapnel. Using his gargantuan tenor, e-flat clarinet, and the buzzing tarogato, Brotzmann squeals in sympathy. The horns become seagulls in a wide-screen thunderstorm, wildly beautiful. Throughout, the music has the sense of epic confrontation that is Brotzmann's earmark, though Last Exit's metal vibe has been replaced by one of skin and gourd. proud and powerful stuff.
Die Like a Dog is saxophonist Peter Brotzmann's salute to Albert Ayler. Tribute projects are usually less than memorable, but this quartet, and particularly this performance (at 1997's Total Music Meeting in Berlin), was different. William Parker, lynchpin of New York's free-jazz scene, plays bass. His sound - stumpy, impactful, dense - suggests the hajouj from Morocco or the inanga from Burundi, instruments that require physical input if they're to sing. Chicago-based drummer Hamid Drake also favors thumping, hand-on-skin sonorities. This ethnic feel is not mere coloration; it's in the beats, too. Both pursue the polyrhythmic universalism of late Coltrane. Unlike Ayler's rhythm sections, which tended to respond congregation-style to the soloist, Parker and Drake sketch a firm yet accommodating metrical grid. Trumpeter Toshinori Kondo uses electronic effects, shooting the air full of sonic shrapnel. Using his gargantuan tenor, e-flat clarinet, and the buzzing tarogato, Brotzmann squeals in sympathy. The horns become seagulls in a wide-screen thunderstorm, wildly beautiful. Throughout, the music has the sense of epic confrontation that is Brotzmann's earmark, though Last Exit's metal vibe has been replaced by one of skin and gourd. proud and powerful stuff.
--- JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.
Product Description
Die Like A Dog Quartet.
Little Birds Have Fast Hearts No.2,Peter Brotzmann,Fmp,Jazz
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