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LP
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ACT 9970LP
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"Catching Ghosts by revered, iconoclastic 81-year-old reedist Peter Brötzmann (1941 to 6/22/23) with Moroccan Gnaoua adept Majid Bekkas playing two-stringed, camelskin-backed guembre and Chicago-bred drummer Hamid Drake, proves that 'free' spontaneous interactions deriving power from age-old traditions can transcend cultural lines. Improvising on incantations from Gnaoua liturgy, Brötzmann's horn cries as summons and statement; Drake's drums awaken inner impulses; Bekkas' strings, plucked and strummed, tie it all together, and his voice brings the song home. But this is no lucky success: The music is vital due to its players' career-long practice, their knowledge of heritage, and belief the past must always be reinterpreted, renewed. American jazz giants have jammed with Gnaouans, but for Brötzmann, Europe's exemplar of unfettered blowing, to grapple with such material is to hear a new synthesis. Bekkas aligns himself with Brötzmann, championing the revival of Gnaouan culture, which originates in the uneasy history of freed Black slaves integrating with Moroccan Islamic society. The music relates to American blues, as Bekkas knows. Drake orchestrates the open format, making drama from grooves so each track of Catching Ghosts tells its own story, signifying meaning though it be pre-linguistic. That suits Brötzmann's adjustment of his signature style."
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CD
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ACT 9970CD
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"Catching Ghosts by revered, iconoclastic 81-year-old reedist Peter Brötzmann with Moroccan Gnaoua adept Majid Bekkas playing two-stringed, camelskin-backed guembre and Chicago-bred drummer Hamid Drake, proves that 'free' spontaneous interactions deriving power from age-old traditions can transcend cultural lines. Improvising on incantations from Gnaoua liturgy, Brötzmann's horn cries as summons and statement; Drake's drums awaken inner impulses; Bekkas' strings, plucked and strummed, tie it all together, and his voice brings the song home. But this is no lucky success: The music is vital due to its players' career-long practice, their knowledge of heritage, and belief the past must always be reinterpreted, renewed. American jazz giants have jammed with Gnaouans, but for Brötzmann, Europe's exemplar of unfettered blowing, to grapple with such material is to hear a new synthesis. 'My approach is get in and disturb these themes, so other things happen,' he explains. 'I'm not thinking about scales or harmonies. I follow Bekkas, and when he changes, I do something against it to make the music interesting to me. The dialectic is a good way to make something new, out of tension. I need that in any sort of playing.' Bekkas aligns himself with Brötzmann, championing the revival of Gnaouan culture, which originates in the uneasy history of freed Black slaves integrating with Moroccan Islamic society. The music relates to American blues, as Bekkas knows. Drake orchestrates the open format, making drama from grooves so each track of Catching Ghosts tells its own story, signifying meaning though it be pre-linguistic. That suits Brötzmann's adjustment of his signature style. 'I don't have to play all high energy anymore,' says the German who shook up the jazz world in 1968 with his album Machine Gun. 'Now I'm more interest in dynamics and sound.' Those tangible qualities universalize the challenge of Catching Ghosts."
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Book
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CVSD PBBK
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The US release of Peter Brötzmann's new book, Along The Way, chronicling the last decade of his artwork (2010-2020). This beautiful 228-page hardback featuring full color reproductions was produced by Corbett vs Dempsey, Trost Records, and Brötzmann himself, and includes essays by Peter Brötzmann, Thomas Milroth, John Corbett, Markus Müller, Sotiris Kontos, Stephen O'Malley, Heather Leigh, and Karl Lippegaus. Available in a limited edition while supplies last. Publisher: Wolke Verlagsges. Mbh; published in cooperation with Corbett vs Dempsey, Trost Records, and Brötzmann himself.
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LP
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CF 023LP
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Inspired by a poetry booklet by Kenneth Patchen (from which it takes its title), 14 Love Poems focuses on expression and emotion. Recorded and first released by FMP in 1984. Peter Brötzmann: alto, tenor & baritone saxophone; a-,e-flat and bass clarinet, tarogato. Cover by Peter Brötzmann. Producer: Jost Gebers, Peter Brötzmann. Mix: Jost Gebers, Peter Brötzmann. All compositions by Peter Brötzmann except "Nr. 1 baritone-sax / Lonely Woman" by Ornette Coleman. 180 gram vinyl.
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CD
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TROST 190CD
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A long desire of extraordinaire saxophone player Peter Brötzmann was a studio recording of some of his favorite jazz tunes and his own music -- a grand bridge over the music important for his life and his musical career in the past and present. Trost invited him to Martin Siewert's studio in Vienna to do so in summer 2018. The result is intense, beautiful and touching. Features compositions by Harry Barris/Gordon Clifford, Sigmund Romberg/Oscar Hammerstein II, Herbie Nichols, Dizzy Gillespie, George Gershwin/Ira Gershwin, and Sonny Rollins. Personnel: Peter Brötzmann - tenor saxophone. Recorded, mixed, and mastered by Martin Siewert. Liner notes and artwork by Peter Brötzmann.
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LP
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TROST 190LP
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LP version. A long desire of extraordinaire saxophone player Peter Brötzmann was a studio recording of some of his favorite jazz tunes and his own music -- a grand bridge over the music important for his life and his musical career in the past and present. Trost invited him to Martin Siewert's studio in Vienna to do so in summer 2018. The result is intense, beautiful and touching. Features compositions by Harry Barris/Gordon Clifford, Sigmund Romberg/Oscar Hammerstein II, Herbie Nichols, Dizzy Gillespie, George Gershwin/Ira Gershwin, and Sonny Rollins. Personnel: Peter Brötzmann - tenor saxophone. Recorded, mixed, and mastered by Martin Siewert. Liner notes and artwork by Peter Brötzmann.
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