Black Bombaim & Peter Brötzmann (2016)

A este disco no lo voy a reseñar, no voy a recomendarlo como muchas veces hago, voy a escribir lo menos posible, porque a esto o lo amas o lo odioas y no hay comentario que valga para eso. Seguimos con el que puede ser uno de los discos del año, el veterano Peter Brötzmann compartiendo un disco con la banda de Stoner Rock portuguesa Black Bombaim. Y como sìntesis del disco, vean el video, van a morir de amor o de odio, pero no le va a resultar indiferente a nadie: Stoner Rock + Free Jazz para crear un Avant Prog muy especial, escúchenlo....

Artista: Black Bombaim & Peter Brötzmann

Álbum: Black Bombaim & Peter Brötzmann
Año: 2016
Género: Jazz rock psicodélico / Avant prog
Duración: 47:16
Nacionalidad: Portugal - Alemania

Lista de Temas:
01. Black Bombaim & Peter Brötzmann, Pt. 1
02. Black Bombaim & Peter Brötzmann, Pt. 2
03. Black Bombaim & Peter Brötzmann, Pt. 3
04. Black Bombaim & Peter Brötzmann, Pt. 4
05. Black Bombaim & Peter Brötzmann, Pt. 5

Alineación:
- Ricardo Miranda / electric guitar
- Tojo Rodrigues / bass
- Paulo Gonçalves / drums
+ Peter Brötzmann / saxophones

Pasote tremendo este Black Bombaim & Peter Brötzmann de este 2016. Aunque recuerdo que no haría un comentario, sì puedo dejar algunos datos.
Los Black Bombaim son una buena banda de rock que luego de dos conciertos y unos días en el estudio de grabación con el legendario Peter Brötzmann, sacan un nuevo y explosivo álbum. De esa forma unieron dos mundos fusionàndolo en uno solo para crear algo nuevo, esperimentando y desarrollando, desde la base rock que propone Black Bombaim que Peter Brötzmann juegue arriba y despliegue todo su free jazz. Y aquì el resultado.
Para quien no lo conozca, les cuento que Peter Brötzmann es un saxofonista y clarinetista alemán de free jazz, y uno de los más importantes músicos de free jazz europeo. Su timbre áspero se reconoce fácilmente, y tiene una producción abundante. Estuvo involucrado con el movimiento Fluxus (un movimiento de arte contemporáneo surgido a fines de los años 50 y caracterizado por su transversalidad geográfica y su actitud de provocación y experimentación artística a través de múltiples disciplinas). En 1968, en medio de la agitación política de Europa, participó en el lanzamiento de "Machine Gun", una grabación que figura entre los más notables álbumes de jazz... y de allí su derrotero por las tablas de mundo del jazz pero sin dejar la experimentación aún cuando sea un músico de formación técnica pero que se despega de ataduras a la hora de interpretar. Y aquí lo demuestra. Ya en la década de 1980, Brötzmann participó en grabaciones y presentaciones con bandas de metal y de Noise Rock. La que vera`n aquì es una de sus amplias facetas, y es para el delirio.

El disco recién sale a la luz, no encontré muchos comentarios aún, y la verdad, ni faltan que hace, esto no se reseña, se escucha y se tira o se sigue escuchando hasta gastarlo. No se calienten en escribir mucho, señores comentaristas musicales, mejor escuchenlo y hágan escuchar y que cada uno se quede con su propio comentario y opinión, cualquier otra cosa es al pedo.
Igual dejo algunos comentarios en inglés que encontré, por si a alguien le interesa...

This is a meeting written in the psychedelic sky. Everything seemed to announce it on the paths of the Portuguese stoner rock band Black Bombaim and of the German free jazz saxophonist Peter Brotzmann. The trio used to combine a saxophone to their music, usually choosing Rodrigo Amado, a first line figure of the jazz scene in Portugal, and also the late Steve Mackay, the tenor we hear on the pioneering (in what concerns this kind of mixtures) “L.A. Blues”, by Iggy Pop &The Stooges.
Brotzmann had multiple experiences in the proximities of rock, from the group Last Exit, with Sonny Sharrock, Bill Laswell and Ronald Shannon Jackson, to Full Blast, in the company of Marino Pliakas and Michael Wertmuller, going through his partnerships with his son Caspar Brotzmann and with Fushitsusha, the band lead by Keiji Haino. The curious thing, in this collaboration, is that the guitarbass-drums power trio never goes out of their track to meet Brotzmann half way and their guest doesn’t try any compromise to approach them. Putting it very simply: it wasn’t necessary. Listening to this music, we finally discover that there’s not much separating rock and jazz, at least when dealing with factors like jamming, exploring sound and having a cosmic understanding of creative freedom. Final result: this is one of the discographic pearls of the year 2016.

shhpuma.com

I guess that’s one that Black Bombaim can cross off their collective bucket list. The always adventurous Portuguese psychedelic jammers have just released a new collaborative LP with free jazz saxophonist Peter Brötzmann, whose experimental deeds span decades and remain ever forward-thinking. Issued on CD/DL with vinyl due out Nov. 15 via Lovers & Lollypops and Shhpuma, the full-length offering breaks down into four component parts. It was, of course, recorded live and I’d suspect a good deal if not all of it came together on the spot, but what must have been a challenging record to mix results in a fluid combination of can-go-anywhere horn and guitar wash atop a rock solid rhythmic foundation in bass and drums.
There are a couple moments when Brötzmann — whose catalog boasts more than 100 albums and collaborations going back to 1967 — even takes a back seat to let Black Bombaim carry the groove, but at no point is either party phoning in their weirdness. They mean it through and through, on all sides, and present a vision of psychedelic fusion that’s rarely heard even amongst the bravest of jams.
It’s streaming in full now courtesy of Lovers & Lollypops, and you can hear it under the release info below if you’re up for a trip...
This is not a secret anymore: we recorded a full-length with Peter Brötzmann earlier this year. The record is eponymous and was released via Lovers & Lollypops and Shhpuma.
Recorded live at Estúdios Sá da Bandeira by João Brandão and José Arantes. Mixed by José Arantes at B-House Studios. Mastered by Chris Hardman. Produced by Black Bombaim & Peter Brötzmann. Executive production by Travassos (Shhpuma) and Joaquim Durães (Lovers & Lollypops). Design by Sérgio Couto. Special thanks to Pedro Costa.

theobelisk.net

One of the most renowned Portuguese psychedelic rock bands Black Bombaim and the equally renowened German free jazz saxophonist Peter Brötzmann have collaborated this year on a pretty remarkable album. The album only came out a few days ago and it packs some astounding instrumental psychedelic rock and offers a mixture of improvisational free jazz parts along with forward propelling psych and krautrock motion to make for some mesmerizing noisy psychedelia from start to finish.

The first track on the album is titled ''Part I'' and it it starts off with a short free jaz sax part until Black Bombaim set in, and propell the track into a far-out instrumental psych jam, where Brötzmann's saxophone impro works incredibly well to make for some captivating psychedelic jamming. The same thing can essentially be said about the second track as well, only that the track starts off in a rather krauty stoner manner, making for another rather heavy psych jam. The bass section of Black Bombaim works wonders on this track, as well as on the entire album, offering some fine repetitive low tunes that also tend to have quite a bit of variation too. ''Part III'' however is my personal favorite from this all-round fine album. The track starts off rather slow with some flowing drums and a repetitive hum of bass accompanied by the sax of Brötzmann, only to evolve into another addictive far-out jam in the end. The last two tracks don't dissappoint in any way as well, as they put forth some fine stoner and psych heavyness with links to be made to Om in the bass section of ''Part IV'' until it evolves into another rather heavy psychedelic noise rock jam. The last track can also be summed up with the words ''captivating and unrelenting free jazz influenced noisy psychedelia''.
All in all the collaboration of Black Bombaim and Peter Brötzmann goes down as one of the best releases of 2016 for me. At least among the albums that have already come out so far. Anyone who is into some fine noisy instrumental psychedelia and free jazz sax improvisation then this is definitely an album to check out and take note of.

Kurrent Music

Black Bombaim is a Portuguese psychedelic trio featuring Ricardo Rodrigues on electric guitar, Tojo (Vitor Rodrigues) on electric bass, and Senra (Paulo Gonçalves) on drums. They truly reap the whirlwind on this album, adding the mighty free jazz titan Peter Brotzmann, whose “have reeds will travel” mindset makes him open for any kind of setting whether acoustic jazz with William Parker and Hamid Drake or blasting post-everything with the Japanese noise masters Fushitsusha. This five-part suite is definitely not for the faint of heart as Brotzmann comes roaring right out of the gate on “BB and PB Pt. 1” playing unaccompanied tenor saxophone in his patented caustic and up front manner before being prodded by the band to even greater heights, rending and tearing the very air around him. Towering electric bass and taut drumming initially provide the power for “BB and PB Pt. 2” which Brotzmann taps into by probing his accompaniment and then taking flight with some torrid saxophone. When mixed with the trio makes for a very imposing and thrilling improvisation. There is a slight dynamic downshift to strong electric bass led music that Brotzmann can parley with before the guitar and drums rise up and there is a full bore quartet improvisation. “BB and PB Pt. 3” opens in a more plodding fashion, recalling heavy metal behemoths like Black Sabbath. Brotzmann responds with some of his most raw playing, crying out like an animal in its death throws. Combining this with the rhythmically pounding bass and drums makes for a very imposing experience. The group comes together as one force to drive the music forward relentlessly, uniting to belay any questions about age or generation, since everyone is locked in and laser focused about the music at hand. Rodrigues adds smears and squalls of guitar to the proceedings, and everybody goes over the top with scalding noise to the finish line. Tojo’s monstrous bass leads the group into “BB and PB Pt. 4” where the riff he builds creates heavy tension and Brotzmann responds with long peals of saxophone arcing across the backdrop. Drums crash and guitar snarls as everyone comes together in a massive edifice of pure sound. The collective improvisation is raucous and invigorating and just epic in its scope and scale, bordering on sensory overload. Muscular bass and drums and echoing guitar lay the foundation for the concluding “BB and PB Pt. 5” and Brotzmann is soon into the breach once again with an enormous sound that seeks to devour all in its path. The muscularity of the bass and drums and Brotzmann’s guttural responses allows Rodrigues’ guitar to fly over and around the core of the music adding splashes of color and zings of electricity as the music reaches it apocalyptic peak. This is truly an epic album, and kudos to Black Bombaim for having the stamina and cojones to play with a titan like Peter Brotzmann. They work together beautifully and the music is reminiscent of John Zorn’s excellent group Simulacrum that mines a similar vein.

Tim

Ya saben, hagan su propio comentario del disco, no los guía nadie, son libres como el saxo de este disco, escuchenlo y sean libres, luchen por ser libres en todo el concepto de la palabra, en sus vidas, en su ideal... este disco creo que los puede ayudar.
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