Peter Brötzmann & Hamid Drake

Brötzmann / Drake

Brö Records Brö-D CD

Out of print

Brötzmann alto & tenor saxophones, tarogato
Drake frame drum, trap kit

Track Listing:
  1. Nr. 1 (15:52)
  2. Nr. 2 (18:07)
  3. Nr. 3 (11:36)
  4. Nr. 4 (07:55)

09 March 2004, Beachland Ballroom, Cleveland, OH
producers: Michael Ehlers & Brötzmann
engineer: The Eremite Mobile Unit
photography: Brötzmann & Fred Burkhart
silkscreens: Alan Sherry/Siwa

Peter Brötzmann & Hamid Drake: Brötzmann / Drake

brö-d is available exclusively at concerts on the 2010 u.s.a. brötzmann/drake tour, & here at while supplies last. packaged in the same heavyweight cardstock gatefold-style sleeve as earlier brö letter series c/ds, this time with hand pulled screen printed covers by alan sherry/siwa records.  numbered edition of 525 copies.

peter brötzmann/hamid drake
live at the SEA Theater, NYC

april 18 2010 (part one)
peter brötzmann/hamid drake
live at the SEA Theater, NYC

april 18 2010 (part two)

Iron-lunged German saxophonist Peter Brötzmann's Brö Records has a special history, beginning with his first LPs, For Adolphe Sax and Machine Gun.  In 2002, he revived the label with Michael Ehlers of Eremite, reserving it for limited-run special projects.  Most of the recordings have been CDs made to sell on specific tours, & they've all presented Brötzmann in duets with drummers, one in 2005 with Nasheet Waits & two for a tour with Han Bennink in 2006. Recorded in 2004 at Cleveland's Beachland Ballroom Tavern, this one features Hamid Drake, a regular Brötzmann partner both in small groups & the Chicago Tentet.  Like the previous CDs it's packaged in a hand-printed piece of folded cardboard with a rubber nipple to hold the disc in place.  It's as simple & functional as packaging can be & this limited-edition is available only from the musicians on their 2010 tour or from Eremite.  

The music, too, is as intense, direct & personal as one expects from Brötzmann: four pieces in which he moves from alto to tarogato to tenor, in constant dialogue with Drake, who is a master at creating the kind of polyrhythmic parade rhythms that Ed Blackwell did so well.  Each piece is an exercise in the visceral free improvisation that has always defined Brötzmann's music: initial melodic impulses are reduced to a trill, a wail, a bugle call, a portion of a scale, or a travesty of a traditional ballad.  The longest track at 18 minutes, "Nr. 02" is a dialogue for tarogato & frame drum, Drake establishing different pitch patterns & rhythmic figures as Brötzmann creates swirling modal patterns in which the rapid, repeated lines begin to double up into multiphonics before the piece moves to a kenning dirge evocative of the Middle East.  "Nr. 03" may be Brötzmann's most powerful statement here, a classic tenor oration that magnifies emotion to an epic scale before Drake enters to supply both sonic backdrop & rhythmic fuel.  This is genuinely elemental music, an authentic encounter between two musicians deeply attuned to one another's methods & impulses.  

-- Stuart Broomer, Signal To Noise