RPeter Brotzmann & Heather Leigh, Bruce Lamont, Mute Duoįri 6/9, 9 PM, Empty Bottle, 1035 N.
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This concert is part of EB25, the Empty Bottle’s yearlong series of concerts celebrating its 25th year of operation. On their previous three live albums (Ears Are Filled With Wonder, Sex Tape, Crowmoon) the duo have developed an intimate and intense language that manifests. If you want to hear the fearlessness that’s made him a force to be reckoned with for his more than 50 years in action, come on down. If you’re looking for Brötzmann to rehash glories of yore, you might just stay home with your old records. But instead of ripping through the action or driving home rhythms, he drops straight into Leigh’s undulating squalls and falls like a skydiver bent on keeping his rip cord untugged until the last possible second. There’s no mistaking Brötzmann’s rasping, insistent sound on each of the four woodwinds (alto and tenor saxophones, B-flat clarinet, and the Middle-European tárogató) he plays over the 48-minute-long concert album. However, this duo had already established itself as one of the main outfits of Brtzmann. But the music that he and American-born, Scotland-based steel guitarist Heather Leigh make can hardly be said to fall back on old habits. Sex Tape is only the sophomore release of Brtzmann and Leigh, recorded in the middle of a European tour, following Ears Are Filled With Wonder (Not Two/Trost, 2016). So the vulgar cover image of his latest album, Sex Tape, which depicts a crucified man getting a blow job from a viper, looks like a roots move. After the rawness of its precursor I Abused Animal (SOMA 023LP, 2015), Throne is a record of late night Americana and heavy femininity intimate love songs smoked in sensuality.
His rough timbre is easily recognized on his many recordings. On Throne, Heather Leigh takes her place as queen of pedal steel with a suite of heart-rending ballads cauterized with burning riffs.
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Brtzmann is among the most important European free jazz musicians.
Peter Brötzmann justified the crude nomenclature of early recordings like Machine Gun, Nipples, and Balls with the coarse tone and pugilistic phrasing of his saxophone playing. Peter Brtzmann (born 6 March 1941) is a German artist and free jazz saxophonist and clarinetist.