Alarm by Peter Brötzmann Group
Tracklist
| 1. | Alarm | 38:02 |
| 2. | Jerry Sacem | 3:45 |
Credits
released October 25, 2024
REVIEWS
“Alarm consists of a Brötzmann little big band interpreting a reaction to a nuclear emergency. The title track is a 37-minute tour de force, with the nine-piece ensemble setting a sort of clarion call for disarmament. The interaction between these musicians is at such a sophisticated and sympathetic level that it never seems like a free-for-all blowout. Surprisingly, there are moments where it sounds as if a Dixieland band just got off a spaceship and landed in the middle of a war. “Alarm” runs the gamut of emotions, accurately reflecting life during an uncertain and precarious era. It matches the best of Brötzmann’s visceral, excessive-yet-exhilarating work (1968’s “Machine Gun” and 1969’s “Nipples”) but is also a heady concept that succeeds.”
- Jazz Times
“Brötzmann assembled a fine, multinational nonet for this date. The title piece is based around a horn motif imitating the sound of an air-raid siren. “Alarm” is divided into sections featuring small groups of players, sometimes on their own, other times backed up by the other musicians, but never in a traditional soloist's role. The attention is always focused on their interaction with each other or with the overall group sound. The piece ends with a passage that borrows liberally from Ennio Morricone's theme from “The Good, the Bad and the Ugly.”
- All Music Guide
“In the early ‘80s, Brötzmann began employing the South African rhythm team of bassist Harry Miller and drummer Louis Moholo, anchors of the Brotherhood of Breath and lynchpins of the UK’s kwela-jazz scene who provided a pliant circulation system for the saxophonist’s flights. On “Alarm,” the trio is augmented by Alex von Schlippenbach, Willem Breuker and Frank Wright, Alan Tomlinson and Johannes Bauer and Toshinori Kondo for a pan-continental meeting of minds. Despite the size of the ensemble, there is ample room for individual soloists to stretch unaccompanied. Indeed, “Alarm” is quite colorfully stitched-together considering the minimal and dire auspices of its theme. A rejoicing in spite of the storm comes in the form of a brief rendition of Wright’s R&B groover “Jerry” with Wright preaching in full-vocal mode.”
- All About Jazz
“If the Brötzmann octet that put together the epochal “Machine Gun” might be said to have been playing in response to the political and social times, the same is true of this music.
The discontinuities between the two sets are pronounced enough, however. In the case of “Alarm,” the kinetic rhythm section arguably does the most to give the music a very different kind of lift, and the innate understanding between Miller and Moholo lends the music a level of intensity in addition to the often squalling horns. Brötzmann has always been iconoclastic, even though his roots lay in the big-toned tenor saxes of the likes of Hawkins and Webster. The resulting balance has made for the kind of multifaceted quality he hasn’t been given due credit for. This disc is a case in point.”
- All About Jazz,
Willem Breuker: saxophones & clarinets
Peter Brötzmann: saxophones & clarinets
Frank Wright: tenor saxophone, bass clarinet, voice
Toshinori Kondo: trumpet
Hannes Bauer: trombone
Alan Tomlinson: trombone
Alexander von Schlippenbach: piano
Harry Miller: double bass
Louis Moholo: drums
Recorded live by Werner Münchmeyer on November 12th, 1981, during the 164th NDR-Jazzworkshop at the Funkhaus Hamburg, großer Sendesaal in Hamburg. Produced by Michael Naura.
Album produced by Peter Brötzmann and Jost Gebers
Mastering for this digital release by Olaf Rupp.
Produced by Markus Müller.
Cover design by Peter Brötzmann.
REVIEWS
“Alarm consists of a Brötzmann little big band interpreting a reaction to a nuclear emergency. The title track is a 37-minute tour de force, with the nine-piece ensemble setting a sort of clarion call for disarmament. The interaction between these musicians is at such a sophisticated and sympathetic level that it never seems like a free-for-all blowout. Surprisingly, there are moments where it sounds as if a Dixieland band just got off a spaceship and landed in the middle of a war. “Alarm” runs the gamut of emotions, accurately reflecting life during an uncertain and precarious era. It matches the best of Brötzmann’s visceral, excessive-yet-exhilarating work (1968’s “Machine Gun” and 1969’s “Nipples”) but is also a heady concept that succeeds.”
- Jazz Times
“Brötzmann assembled a fine, multinational nonet for this date. The title piece is based around a horn motif imitating the sound of an air-raid siren. “Alarm” is divided into sections featuring small groups of players, sometimes on their own, other times backed up by the other musicians, but never in a traditional soloist's role. The attention is always focused on their interaction with each other or with the overall group sound. The piece ends with a passage that borrows liberally from Ennio Morricone's theme from “The Good, the Bad and the Ugly.”
- All Music Guide
“In the early ‘80s, Brötzmann began employing the South African rhythm team of bassist Harry Miller and drummer Louis Moholo, anchors of the Brotherhood of Breath and lynchpins of the UK’s kwela-jazz scene who provided a pliant circulation system for the saxophonist’s flights. On “Alarm,” the trio is augmented by Alex von Schlippenbach, Willem Breuker and Frank Wright, Alan Tomlinson and Johannes Bauer and Toshinori Kondo for a pan-continental meeting of minds. Despite the size of the ensemble, there is ample room for individual soloists to stretch unaccompanied. Indeed, “Alarm” is quite colorfully stitched-together considering the minimal and dire auspices of its theme. A rejoicing in spite of the storm comes in the form of a brief rendition of Wright’s R&B groover “Jerry” with Wright preaching in full-vocal mode.”
- All About Jazz
“If the Brötzmann octet that put together the epochal “Machine Gun” might be said to have been playing in response to the political and social times, the same is true of this music.
The discontinuities between the two sets are pronounced enough, however. In the case of “Alarm,” the kinetic rhythm section arguably does the most to give the music a very different kind of lift, and the innate understanding between Miller and Moholo lends the music a level of intensity in addition to the often squalling horns. Brötzmann has always been iconoclastic, even though his roots lay in the big-toned tenor saxes of the likes of Hawkins and Webster. The resulting balance has made for the kind of multifaceted quality he hasn’t been given due credit for. This disc is a case in point.”
- All About Jazz,
Willem Breuker: saxophones & clarinets
Peter Brötzmann: saxophones & clarinets
Frank Wright: tenor saxophone, bass clarinet, voice
Toshinori Kondo: trumpet
Hannes Bauer: trombone
Alan Tomlinson: trombone
Alexander von Schlippenbach: piano
Harry Miller: double bass
Louis Moholo: drums
Recorded live by Werner Münchmeyer on November 12th, 1981, during the 164th NDR-Jazzworkshop at the Funkhaus Hamburg, großer Sendesaal in Hamburg. Produced by Michael Naura.
Album produced by Peter Brötzmann and Jost Gebers
Mastering for this digital release by Olaf Rupp.
Produced by Markus Müller.
Cover design by Peter Brötzmann.
