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"HiGH ▀ iNTELLiGeNCE tRoLLS"
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a r t i s t : Brotzmann Clarinet Project
t i t l e : Berlin Djungle
d a t e : 2004
l a b e l : Atavistic UMS246
g e n r e : Jazz
r l s. d a t e : October/2004
t r a c k s : 02
b i t r a t e : VBRkbps
s i z e : 82,7 MB
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At JazzFest Berlin in 1984, Peter Brotzmann convened a once-in
-a-lifetime ensemble, aiming to put a spotlight on the
clarinet. The six (!) hand-picked clarinetists - not all of
them always thought of as clarinetists - constitute one of the
great "strange bedfellows" groupings of all time.
Simply to hear Brotzmann and John Zorn on the same stage
requires quite an imagination (and this is the only such
recording), but add to that the stupendous British jazzman Tony
Coe (well known as the tenor saxophonist on Mancini's "Pink
Panther"), East German Ernst-Ludwig Petrowsky, French
sophisticate Louis Sclavis and Lower Eastsider J.D. Parran, and
you've got quite a volatile cocktail. Sit them atop Cecil
Taylor's rhythm section, Tony Oxley on drums and William Parker
on bass, and add Toshinori Kondo (of Die Like a Dog fame) on
trumpet, Johannes Bauer and Alan Tomlinson on trombones, and
the lineup is unstoppable.
The Brotzmann Clarinet Project performs a single, lengthy score
by Brotzmann, and the results are as sensitive and poetic as
they are incendiary, as befits the black wooden horn.
Remastered from the original tapes, with Brotzmann's original
cover design, Berlin Djungle is proudly presented.
http://www.atavistic.com
Recorded at the 1984 Jazzfest Berlin, Berlin Djungle has much
more in common with the complex textures of recent projects
like the Chicago Tentet. "What A Day" is a highly melodic work,
yet still process-oriented. However, this process is additive,
featuring juxtapositions of woody textures and shrill
overblowing or lithe clarinet lines and dense masses of sound
from bass and trombones. Alex von Schlippenbach and Bill Dixon
come to mind as precursors for this sort of piece in terms of
sound organization - compare parts of "What A Day" with the
brass and wind writing on Intents and Purposes and Dixon's
bespectacled influence becomes very apparent. With an ensemble
culled from a potpourri of rising American and European
underground stars, Louis Sclavis was the revelation here; his
ebullient sense of "swing" and technical ability put him firmly
in the annals of clarinetists and bass-clarinetists alongside
Dolphy and Portal. But where there is lyricism in Sclavis and
Tony Coe, Ernst-Ludwig Petrowsky, John Zorn and trombonist
Johannes Bauer revel in the production of extraordinary sounds
- and it wouldn't be Brotzmann without madcap theatrics.
Just as Satie was a fly in the ointment in post-World War I
Europe, so Peter Brotzmann and his compatriots in Germany and
elsewhere in the '60s and '70s rose beyond gesture to process
and change in improvised music. Thankfully, FMP and Atavistic
have given us a snapshot and a window onto how the experience
of history garners aesthetic response. --Clifford Allen
http://www.allaboutjazz.com/php/article.php?id=14598
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01-What A Day (First Part) [24:18]
02-What A Day (Second Part) [23:13]
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47:31 min
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