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![Peter Brötzmann, Fred Lonberg-Holm - Memories of a Tunicate (2020) [Official Digital Download 24bit/88,2kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/10/14/geECqs8.jpg?resize=500%2C500&ssl=1)
Peter Brötzmann, Fred Lonberg-Holm – Memories of a Tunicate (2020)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:01:58 minutes | 1,08 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Relative Pitch Records
“Together, Brötzmann and Lonberg-Holm have released two excellent prior duos … This latest CD, Memories of a Tunicate, may be the jewel in their crown. Credit is due to Lonberg-Holm’s liberal use of electronics. Against Brötzmann’s muscular saxophone, the cellist can bring a saturating wall of sound to parry that machine gun attack. This music is, though, not a face-off but a flow. Blasts of sound are tagged and escorted rather than opposed. Like the individual track titles, which are names of obscure sea creatures, the music is designed (actually, improvised) to be shrouded and a bit surprising. Brötzmann often draws from melancholic extended technique with an old soul’s blue feel. For his part, Lonberg-Holm bows and plucks his cello, expanding it into a violin, bass or an electric guitar sound, accented at times with shards of industrial noise. This is one entertaining and exhausting recording.”
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![Peter Brotzmann, Fred Lonberg-Holm - Ouroboros (2018) [Official Digital Download 24bit/44,1kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/10/14/m7bePYn.jpg?resize=500%2C500&ssl=1)
Peter Brotzmann, Fred Lonberg-Holm – Ouroboros (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 40:42 minutes | 390 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Astral Spirits
Recorded by Stefan Deistler at Loft Köln on January 18, 2011.
Faced with a daunting discography that tallies to triple digits, it’s easy to forget that Peter Brötzmann has also been a prolific visual artist for the entirety of his professional career. The two forms expression still regularly cross-pollinate in his work with original paintings and woodcut prints serving as album cover art and the vivid and visceral feelings conjured by his uncompromising music fueling the coarse and stark subject matter of said imagery. A painterly dynamic is particularly present in his many duo encounters. Most commonly with percussionists, but also increasingly with less intuitively-matched instruments that supply texture and color field focused canvases upon which he can scrawl and scribble in bold and often bruising strokes by way of his battery of reeds. Ouroboros is a vinyl document of one such dialogue, recorded at The Loft in Köln, Germany in early 2011 and pressed to just 300 copies.
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Tomeka Reid & Fred Lonberg-Holm – Eight Pieces for Two Cellos (2022)
FLAC (tracks) 24 bit/44,1 kHz | Time – 42:43 minutes | 415 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Corbett vs. Dempsey
Repertoire for cello represents a little-explored niche of the greater jazz songbook. In 2013, cellists Tomeka Reid and Fred Lonberg-Holm turned their arrangerly and composerly attention to this terrain, assembling a selection of four originals (three by Lonberg-Holm, one by Reid) and four works by other composers. The latter include “Pluck It” by pioneering jazz cellist Fred Katz, member of the Chico Hamilton Quintet and soundtrack composer for Roger Corman films; “In Walked Ray” by intrepid hardbop bassist and cellist Sam Jones, who worked extensively with Cannonball Adderly; “Rally” by legendary bassist and cellist Ron Carter, who played with everyone from Miles Davis to Eric Dolphy to A Tribe Called Quest; and “Monti-Cello” by Harry Babsin, the least recognizable name in the group who played cello duets with Oscar Pettiford and recorded the first jazz cello solos with Dodo Marmarosa Trio in 1947. These new takes on old charts provide a storied backdrop and contemporary diving-board for Reid and Lonberg-Holm. By turns achingly beautiful – utilizing all the woody resonance of the twinned instruments – and probingly exploratory, they pay reverence to and also rethink their predecessors’ music. Alongside these historically-mined tracks are the player’s own deeply engaging compositions. Reid’s “Alla Mingus For La Bang” pays homage to one stringsman by way of another: bassist Charles Mingus to violinist Billy Bang. Lonberg-Holm’s “Fragile,” C’mon,” and “How Can We?” all investigate the bowed and pizzed cosmos of the celli with devilish relish. Gorgeously recorded direct-to-stereo sans audience at Chicago’s Logan Art Center, with a cover that sports a painting by Lonberg-Holm.
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