Home » Jazz Articles » Live Review » Peter Brotzmann Ada Trio: London, UK, February 20, 2012
Peter Brotzmann Ada Trio: London, UK, February 20, 2012
Café Oto
London
February 20, 2012
So potent was the chemistry between saxophone behemoth Peter Br?tzmann, cellist
Fred Lonberg-Holm
cellob.1962
Paal Nilssen-Love
drumsb.1974
Coming towards the end of a 10-date European journey, the group enjoyed a two-day residency at north London's Café Oto. Each capital appearance by Br?tzmann leads to a full house. In spite of it being a Monday, traditionally one of the slower nights, this evening was no exception. Café Oto was standing room only, with a predominantly young crowd that wasn't there expecting sweetness and light. Just as well, as the Ada Trio proved one of Br?tzmann's most aggressive combos. And that's saying something. In Nilssen-Love he has one of the most energetic European percussionists. A veritable powerhouse of precise articulation at awesome speed, though also capable of expressionistic tone color manipulation, the Scandinavian made a compelling case to be considered the complete free percussionist. While sight of Lonberg-Holm's cello might bring to mind classical chamber settings, that notion was swiftly disabused by the semicircle of effects pedals arrayed at the cellist's feet. In fact, the Chicagoan also strapped on an electric guitar at certain points which was much more indicative of his preferred sonic territory.
Br?tzmann himself remained a force of nature, readily identifiable from just a single clarion outburst. His distinctive braying growl effortlessly pierced the unrelenting barricade created by the combination of amplified cello and crushing tattoo. Although lurking in the shadows, courtesy of the idiosyncratic Café Oto lighting, his yelping altissimo and buzz saw vibrato illuminated proceedings. As Lonberg-Holm layered ear-shredding bowing and fizzing Morse code electronics, the reedman pitched a keening slow line on alto saxophone in juxtaposition, in what proved a favorite tactic. On clarinet, Br?tzmann's penetrating overtones were more reminiscent of bagpipes, skirling furiously as he accompanied a Nilssen-Love percussion avalanche.
As well as the expected full blooded mayhem, there were also calmer more reflective passages which evoked sudden shafts of sunlight piercing an existential darkness. Br?tzmann displayed a tender, world-weary lyricism, often in duet with one or the other of his partners. However such interludes would almost inevitably build in density and intensity until once more hitting screaming pitch. Over a forty-minute duration, they explored all possible combinations inherent in the threesome, each evolving naturally and unforced from what went before, in a masterful exposition built on the polarity of light and shade, tension and release.
Paal Nilssen-LoveIn the splendid documentary about the reedman Soldier Of The Road (Cinesolo, 2011), Br?tzmann explains that he had a fascination with the drums right from early on. That attraction has borne fruit repeatedly. Many of his most fertile associations have been with drummers, from
Han Bennink
drumsb.1942
Hamid Drake
drumsb.1955
Andrew Cyrille
drumsb.1939
Nasheet Waits
drumsb.1971
Steve Noble
drumsb.1960
Guest or not, there was no quarter given at the start of the second installment. Noble had to find his own way. It was quickly apparent that this was not the occasion to display his talent for extracting varied sonorities from an array of untethered cymbals. Instead, he was thrust back on forcing his own martial patterns into the seething rhythmic interplay, while Br?tzmann on tenor saxophone floated unconcernedly above the fray. At one quieter juncture the German paraphrased his lovely "Master of a Small House" theme, documented on the wonderful Tales Out Of Time (Hatology, 2004). In such moments, the saxophonist drew upon a litany of wavering whimpering cries, suggestive of vulnerability, and tremendously affecting in contrast to the surrounding bombast.
Notwithstanding the uncompromising character of the fare on offer, the packed house remained riveted in rapt attention. As the energy increased, Lonberg-Holm wielded his electric guitar adding a frantic white noise strum to the full force drumming. Br?tzmann worked up to a crescendo on alto saxophone once more, almost levitating, until he physically jumped upwards. His return to earth signaled an abrupt finale, a tactic honed with the Chicago Tentet, creating a fantastic conclusion.
Steve Noble and Fred Longberg-HolmA protracted standing ovation ensued, until finally the band relented for a brief encore. But there really wasn't that much more they could add at this point, having said it all already.
Photo Credit
John Sharpe
Tags
Peter Brotzmann Ada Trio
Live Reviews
Peter Brotzmann
John Sharpe
Fred Lonberg-Holm
Paal Nilssen-Love
Han Bennink
Hamid Drake
Andrew Cyrille
Nasheet Waits
Steve Noble
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