T.N.D., July 8, 2023: Peter Brötzmann
Jul. 14th, 2023 08:48 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
eerietomIntroduction
You may have noticed my Tincture Night Diary blog entries have gotten noticeably shorter starting with last week’s entry, which I’ve done for two reasons:
1. As much as I enjoy writing them, it takes longer than one might expect to look up pertinent information then write a review or an analysis. As a result, my music projects were beginning to suffer from lack of attention.
2. I’m running out of ways to describe movies and music beyond mind-blowing and amazing and other superlative terms. Nearly every Noh play I see or all the jazz I’ve been discovering lately has been mind-blowing and amazing. Nearly every kung fu movie or episode of MST3K I watch has been hysterically funny. You get the idea.
So, for now anyway, I’m just going to list what I’ve watched/listened to each week unless something really merits discussion.
Gumbasia, dir. Art Clokey, 1953
The Benny Hill Show, dir. David Bell, 1971
Episode: “News at Ten”
Summertime, live performance by Akira Sakata, year unknown
The performance begins with a little free jazz then segues into the number itself.
Miwa (Noh play), 2022
Swamp Diamonds (MST3K version), dir. Roger Corman, 1956
The Belladonna of Sadness, dir. Eiichi Yamamoto, 1973
Nipples (the piece, not the album), Peter Brötzmann, 1969
As a relative newcomer to free jazz, I had not heard of Peter Brötzmann until he died at the end of June 2023. The reviews I read were (dare I say it?) amazing so I checked out some of his works, and was not disappointed! In fact, it was this review that grabbed my attention:
Machine Gun, Peter Brötzmann, 1968
You may have noticed my Tincture Night Diary blog entries have gotten noticeably shorter starting with last week’s entry, which I’ve done for two reasons:
1. As much as I enjoy writing them, it takes longer than one might expect to look up pertinent information then write a review or an analysis. As a result, my music projects were beginning to suffer from lack of attention.
2. I’m running out of ways to describe movies and music beyond mind-blowing and amazing and other superlative terms. Nearly every Noh play I see or all the jazz I’ve been discovering lately has been mind-blowing and amazing. Nearly every kung fu movie or episode of MST3K I watch has been hysterically funny. You get the idea.
So, for now anyway, I’m just going to list what I’ve watched/listened to each week unless something really merits discussion.
Gumbasia, dir. Art Clokey, 1953
The Benny Hill Show, dir. David Bell, 1971
Episode: “News at Ten”
Summertime, live performance by Akira Sakata, year unknown
The performance begins with a little free jazz then segues into the number itself.
Miwa (Noh play), 2022
Swamp Diamonds (MST3K version), dir. Roger Corman, 1956
The Belladonna of Sadness, dir. Eiichi Yamamoto, 1973
Nipples (the piece, not the album), Peter Brötzmann, 1969
As a relative newcomer to free jazz, I had not heard of Peter Brötzmann until he died at the end of June 2023. The reviews I read were (dare I say it?) amazing so I checked out some of his works, and was not disappointed! In fact, it was this review that grabbed my attention:
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This is music played at such a pitch of impatience and self-criticism that every note bursts with expression, a bustle of question-marks, a hive of conflicting vectors. If it’s all too much, it’s because you’re frightened to be alive. —writer Ben Watson, in 2010, reviewing the Nipples album |
Machine Gun, Peter Brötzmann, 1968
