![]() "Recorded at a concert celebrating the saxophonist’s 50th birthday, this is remarkably different from what might be expected. Overall, the März Combo is about no-holds-barred, soul-baring improvisation of the type long championed by Brötzmann. There's a brief moment where Kondo's electronically enhanced trumpet in tandem with the guitars evokes Miles Davis from his Agharta period. The brief "Part 2" appears to have been intended as a respite from the onslaught but it doesn't hold and the band surges into the final section with guns ablaze. The music begins quietly enough with a moody dialogue between Brötzmann on bass clarinet and bassist William Parker, but this is not a group that was going to remain docile for long. But, as in Last Exit, that rock energy is harnessed in the service of a greater strength - inspired free improvisation on rough-hewn structures. ![]() An all-star cast to be sure, the band had a bit of a rockish tinge with his son Caspar and Nicky Skopelitis aboard on guitars and Golden Palominos founder Anton Fier on drums. ![]() His März Combo seems to have been a one-shot venture. "German saxophone behemoth Peter Brötzmann had always had great success with mid-size ensembles, from his protean Machine Gun octet in 1968 to the Chicago Tentet of the late '90s. ![]()
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