The Quartet

Historically important since this was arguably 82-year-old Peter Brötzmann’s final live session, this two-CD set has other attractions. That’s because the four half-hour improvisations feature not only two of the UK’s busiest free players, but also one of the few times the German reedist recorded  – or even played – with a vibraphonist. Additionally, although Brötzmann would be dead a little more than four months after this club date, the no-holds-barred intensity he had projected since he was 19 was still very much in evidence.

Getting as good as they got are bassist John Edwards and drummer Steve Noble, whose contributions are as much individual as accompanying, while added sonic hues come from the resonation metal bars of vibist Jason Adasiewicz. All three had worked separately with Brötzmann at different points in his recent career.

Throughout the reedist’s expected motifs are highlighted, that encompass scooped renal slurs, multi-timbral squirts, altissimo cries, clarion breaths, splattering  doits and a screeched intensity that crams as many notes phrases as possible. Noble’s drum strategy involves press rolls and shuffles, cymbal splashes and paced ruffs that moderate the narrative as much as they increase the narratives’ pressure. No slouch at providing a balanced pizzicato walk, Edwards also hand slaps the strings to create an underlying drone and his sul ponticello string shakes can be as aggressive as Brötzmann’s output, especially in his brief solo spots.

Shimmering sonic colors from vibraphone resonation, bring unexpected sparkles to some sequences with concise mallet pats and plops, with motor pressure lightening but not sabotaging the overall production. At points Adasiewicz joins the bassist and drummer to propel a melodic, near swing feel, which – especially when playing clarinet – Brötzmann affiliates as well.

For the majority of the time that doesn’t alter the time feel or ascending tension that affects the four tracks. The saxophonist’s reed command is such that at times he can alternate nephritic and lightly breathed tones to practically duet with himself; snaffle, snuffle and pivot to multiphonics that sound as if they’re exacted from a sore throat; creates entire elevated passages that move in sopranissimo mode; screech intermittently and, at one point, growls out elevated screams that in others might be in danger of bursting blood vessels,

Crucially the output from ringing vibraphone resonation, shaking cymbal and drum beats and pronounced double bass pumps, the sonic stress is infected with melody snatches. During the final track, the saxophonist’s squirts of lyricism become even more prominent. Following a timbral stretching display of multiphonics, his melody search is attained. Fleetingly touching on fragments of songbook standards, he teases by altering the themes as he plays, but ends the session with another wrenching reed explosion.

Café Oto, London, February 10 & 11 2023 doesn’t break new ground in delineating the Brötzmann skill and intensity, except that is for the unique vibraphone affiliation. However the strength of the performance and capacity of the rhythm section confirms that the reedist always gave his all even with the end in sight.

–Ken Waxman

Track Listing: CD 1: 1. PART 1: 33:32 minutes 2. PART 2: 39:34 minutes CD 2: 1. PART 1: 34:54 minutes 2. PART 2: 32:26 minutes

Personnel: Peter Brötzmann (tenor saxophone, clarinet and tarogato); Jason Adasiewicz (vibraphone); John Edwards (bass) and Steve Noble (drums)