![allmusic peter brotzmann allmusic peter brotzmann](https://cdn-s3.allmusic.com/release-covers/170/0004/882/0004882589.jpg)
They play off each other to create more of an atmosphere than complex rhythms. The drummers featured use more than just a standard drum kit, they use various bongo drums, sticks, and toms and provide one of the more unique elements heard on the album, especially within the song, Machine Gun (First Take) when the music takes a more subtle approach and quiets the usual attack of saxophone to a low growl, this is where the drummers get to shine. The saxophone players exhibit fast and complex sequences of notes and melodies that intertwine with the rest of the instruments creating more layers the music can build upon, and will occasionally with some degree of humour break into what seems to be dance rhythms that give the listener a sense of humanity amidst the chaos. Each of the players present demonstrate excellent control over these instruments and are able to produce a wide variety of sounds through them, from violent high pitched shrieking, to low pitched dirges.
![allmusic peter brotzmann allmusic peter brotzmann](https://i.pinimg.com/736x/fb/1b/b9/fb1bb9c2a5ce763ade4e6dc48d6eafd0.jpg)
This sound is achieved through what is the dominant instrument here, the saxophones.
#ALLMUSIC PETER BROTZMANN FREE#
This serves as the metaphor of Peter Brotzmann's free jazz masterwork and describes exactly what the opening notes of the first track set out to accomplish to reveal another side of sound through explicit, abrasive, truly frightening and impenetrable waves of saxophone blasting, bizarre percussive hits, wondering pianos and various schemes of atmosphere. The machine gun, designed to kill as many targets in the shortest amount of time, a vessel of destruction. Not a miracle, but an accomplishment to be sure.Review Summary: Machine gun, automatic gun for fast, continuous firing. Communication has come from the silences of isolation and entered into the community of sound. By the end of the set, a short eight-minute improv named after some cigars Sommers had given Brötzman, the bridges are built, the towns erected, and the mountains moved.
#ALLMUSIC PETER BROTZMANN FULL#
The only difference being that, in these three men, there is no need for the cosmos when the earth is so full of passionate, unspeakable forces that need to be given utterance.
![allmusic peter brotzmann allmusic peter brotzmann](http://www.peterbroetzmann.com/discographie-bilder/1974_4OpusMusicumJazz.jpg)
This is what Coltrane talked about when he spoke of music that transcended music and became a cosmic language. Phillips is the reason, the waterbearer who offered a safety net and a ledge to walk out on. This is not a cutting contest this is a defining moment in the career of Sommers, who has more fire in his belly here that he had exhibited in the previous ten years combined. His bass playing filters each sound, each utterance, and mirrors it back to another player changed only by his own imagination, which clarifies - not distorts - the view of each soloist. He enters in the second half on "In Walked Beep." Phillips becomes the bridge by which true communication can happen. Phillips, not yet present, must have been astonished at what he heard from bongos and trap drums to voices.
![allmusic peter brotzmann allmusic peter brotzmann](https://cps-static.rovicorp.com/3/JPG_400/MI0002/808/MI0002808082.jpg)
This is where each man establishes the ground he will speak to the others from. The first half-hour that comprises the title track has the duo coming out screaming, puncturing the air with ribbons of sound with nails attached. This meeting was a chance to see not only if they could still play together and find the fire necessary to make sculptures of notes in midair, but to showcase how each man had grown as a musician. Phillips and Brötzman had been active in many ways during the break, but Sommers had explored a different path, one that landed him at the end of critics' barbs. None of the trio had played together for five years and - suddenly - here they were, together again for what proved to be a 75-minute set of spiritual and musical renewal. This 1988 recording by the duo of super-lunged saxophonist Peter Brötzman and percussionist Gunter Sommer with bassist supérieur Barre Phillips entering later was a reunion from the Total Music Meetings of the early '80s.