Peter Brötzmann & Jason Adasiewicz

Mollie's In The Mood

Brö Records Brö-5 LP


Brötzmann alto & tenor saxophones, b-flat clarinet,
Adasiewicz vibraphone


Track Listing:

Side 'A'
1. Seasons May Vary
2. 'Round the Sun
Side 'B'
1. Mollie's in the Mood

12 September 2012, The Hideout, Chicago
producers: Ehlers & Brötzmann
engineer: The Eremite Mobile Unit
photography: Peter Ganushkin
art/design: Brötzmann
silkscreens: Alan Sherry/Siwa

mollie's in the mood is the sequel to the brötzmann / adasiewicz 2012 tour-only cd going all fancy & the third LP on brö since the label's 2003 revival. recorded in 'you are there' fidelity live at chicago's hideout, a favorite venue of both artists, on the duo's 2012 u.s.a. tour. this is what happens when the most original vibraphonist of his generation slams into a force of nature. vinyl cut at sterling by steve fallone & manufactured by RTI. hand pulled screen printed covers on heavyweight stoughton 'laserdisc' sleeves by alan sherry/siwa. one-time pressing in an edition of 600, VINYL ONLY.

Volcanic Tongue best of 2014


Stunningly produced limited edition vinyl in a one-time only run of 600 copies with hand pulled screen printed covers on heavyweight Stoughton laser disc sleeves by Alan Sherry of SIWA: only the third LP on Brö since the label’s revival, Mollie’s In The Mood is the follow-up to the duo’s tour-only CD, Going All Fancy and it is a monster. Adasiewicz is the most original voice on the vibraphone this side of the MJQ and his playing with Brötzmann has been a revelation for both of them. Recorded live at the Hideout in Chicago in September of 2012 and engineered by Michael Ehlers, this staggering set presents three tracks, with Brötz flitting between alto and tenor sax, b-flat clarinet and tarogato. Brötz’s tone is wounded, reminiscent of the amazing Never Too Late-era, with Adasiewicz flitting between fuzzy single note batteries and clattering percussive clusters. Rather than leaning back, Brötz pushes deep into the overtones of the vibes, playing rough and pleading and testifying with all the gospel force of a Frank Wright. The sidelong “Mollie’s In The Mood” may be the most ‘romantic’ Brötz performance of recent years, 19 minutes of pure lover man sex and outrageously beautiful black blues that are so lewdly suggestive and body centred that it makes you forget that anyone ever invented the term ‘improv’. A monster set, beautifully assembled, two musicians at the peak of their powers, very highly recommended!

-- David Keenan, Volcanic Tongue

A weighty disc in every way -- a substantial piece of vinyl, with music of unusual depth. Vibraphonist Jason Adasiewicz plays seamlessly across inside & outside contexts, his rich, deep resonance deploying sustain full on. Even so, you'd think, a lonely vibraphone would be overwhelmed by Brötzmann's stentorian tenor. But even while Brötzmann modulates his attack, Adasiewicz somehow matches him at full force, & it turns out to be a wonderfully simpatico partnership. Rambunctious tenor on "Seasons May Vary" are met with sonorous chords from the vibraphonist: the track's conclusion sounds especially Ayler-ish. "Mollie's in the Mood" features tenor playing as gently vibrato-laden as Coleman Hawkins, & it's when he switches to alto saxophone that Brötzmann's sound becomes huge. Perhaps unexpectedly, one of the musically richest releases in the Brötzmann catalogue. 

-- Andy Hamilton, The Wire

Talk all you want about that endless tour, Bob Dylan’s got nothing on Peter Brötzmann. The German multi-reedist is the older man by 79 days, and he still totes his own horns onto the train. When was the last time Bob toured by train, or without an entourage?

Still, there are similarities in their late-life perambulations. Both men tour out of the need to inhabit that moment of public creation another time. And both have tempered familiar methods with a rearward-looking consideration of styles or sounds that they never would have let onto their earlier records. Even so, now one will mistake Mollie’s In the Mood for a classicist move. Brötzmann has not dropped his commitment to total improvisation, and he’s still willing to play with people who push him. Chicago-based Jason Adasiewicz is unique in that regard because he plays vibraphone, an instrument that has rarely found a place on any stage of Brötzmann’s. It is capable of filling up all available sonic space, and yet its metallic reverberations rarely come to a cutting point. There’s no one out there hitting the keys harder than Adasiewicz, but the inherent brightness of his sound makes it possible for Brötzmann to stand before it or cut right through it.

Given a situation where his dominance is assured, Brötzmann goes for the greater challenge, and lays back. Which isn’t to say that he plays none of the chest-bursting blasts that made his reputation back in the 60s, or that his partner doesn’t push the music onto unstable ground by dicing his instrument’s usual waves of sound into brittle shards. But there are also long stretches where the alto saxophone coos and keens with a tenderness that one just doesn’t associate with Brötzmann, even in his more flexible later-year incarnation, and others where his more customarily overblown tenor swims into the womblike plushness of Adasiewicz’s plush soundstage. When you’ve been creating for as long as Brötzmann, newness isn’t the objective. The task is to make music that lives, and he and his comrade do just that here.

-- Bill Meyer, Dusted in Exile

Would have never thought up this performance configuration ourselves, but it works as well as a maple butter massage. Brötzmann sounds as great as always. His moves between power-blasts & ballads are what we always wished Shepp would've done as the '70s progressed. & the interplay between sax & vibes is some of the best we've ever heard. You almost have to go back to one of those Gunter Hampel / Marion Brown sides to catch the same flavor. Top notch stuff, & as with all the Eremite productions, it looks & plays like a million bucks.

-- Byron Coley & Thurston Moore, Bull Tongue Review