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 |
| Артист: |
Peter Brotzmann & Bill Laswell |
| Альбом: |
Low Life, 1993 |
| Издатель: |
Celluloid Records / CELD 5016 |
| Жанр: |
Free Jazz, Ambient, Experimental |
| Формат файла: |
EAC-APE-CUE-LOG-HQCovers |
| Ссылка: |
CD |
| Нахождение: |
eDonkey/Kademlia |
|
Tracklist:01. Death Rattle [4:28] 02. Low Life [3:33] 03. Disengage [3:01] 04. Locomotive [3:43] 05. Barrier [4:09] 06. Whelling Vultures [3:52] 07. Curved Dog [1:34] 08. Anasement [1:39] 09. Land One [8:10] 10. Tingle Hairs [4:13] 11. The Last Detective [2:33] Produced by Bill Laswell Recorded and Mixed by Martin Bisi at B.C. Studio, Brooklyn, New York, January 3-6, 1987 Cover Design: Peter Brotzmann Photography: Thi Linh Le 1986 A&R Coordination: Robert Soares Graphics: Studio T Executive Producer: John Matarazzo Personnel:Peter Brotzmann - bass saxophone conn 1923 Bill Laswell - electric basses | QUOTE | In an unusually concise synchronicity of intent, process, content and subject, Low Life is exactly what it's about. A collision, among other things, of the two highly-developed worlds and sensibilities of Peter Brotzmann and Bill Laswell, it is a distinct and unique creation of microcosmic slices that vividly represents a very gnarled industrial world.
German artist Brotzmann's history as a brutal purveyor of noise on a variety of saxophones is a well documented in his extensive series of recordings for the German FMP (Free Music Production) label, highlighted by 1968's Machine Gun. His lifelong "anti-jazz" (to say the least) commitment and approach resulted in his playing a crucial role in the infamous improvisational quartet Last Exit in the 1980s.
American bassist/producer Laswell's adventurous explorations of a far-reaching array of musical forms - including R&B and funk, New York's wide-open "downtown" scene in the late 1970s and early 1980s, ethnic musics from Africa and Asia, experimental and electronic musics, the more extreme fringes of jazz, and the spawning of hip hop - are documented in hundreds of recordings. These include such disparate projects as Material, Fela, White Zombie, Akira Sakata, Bootsy Collins, Blind Idiot God, The Last Poets, Public Image Ltd., Afrika Bambaataa, Mick Jagger, Laurie Anderson, Herbie Hancock, Toure Kunda, Swans, Sly & Robbie, James Blood Ulmer, Iggy Pop, Motorhead, and many more. It was partially in response to some of his more mainstream productions that Laswell committed so much energy to Last Exit.
The other members of Last Exit were drummer Ronald Shannon Jackson, who came out of Ornette Coleman's Prime Time school of harmolodic freedom, and guitarist Sonny Sharrock, who had followed in Coltrane's free-blowing footsteps to record the sublime Tauhid with Pharaoh Sanders and Jack Johnson with Miles Davis.
The inevitable and volatile collision of these four monsters of their respec-tive instruments was to result in a series of tours and recordings that would have life-changing impact on self-proclaimed punk rockers and jazz buffs alike, with listeners throughout the world in love with and/or enraged by the resulting spectacle. After the first Last Exit tour, Laswell produced a Sharrock album, Guitar, which once again demonstrated the guitarist's uniquely blinding technique and power. After more subsequent touring with Last Exit and countless late-night, passionate conversa-tions in bars across Europe and Japan, Laswell formulated with Brotzmann the creation of Low Life.
Low Life is, of course, a very apt title for a duet album between two musi-cians who dwell in the lowest reaches of the sonic spectrum, Laswell with his some-times highly-processed and treated electric basses staking out root tones, and Brotzmann on the somewhat rare bass saxophone, a huge, unwieldy instrument capa-ble of foundation-shaking rumbles. There are plenty of overtones, harmonics, and perverted treble textures created by their twisting, squeezing, and mangling of their axes, but these men are both firmly rooted in the bass frequencies. And their musical intent and implications feed especially on many things base.
There are many possible interpretations of the project's title, Low Life. Brotzmann and Laswell certainly have a common, profound contempt for cultural elitism and the manipulation of society at large by those in the upper echelons of business and politics. They also share a fascination with the visceral, raunchier sides of underclass life and substance that has little to do with Marxist romanti-cism. Their enthusiastic embrace and navigations through "low life" elements of various societies is well known among those who know them or encountered them on the road with Last Exit. The music of this album is as much about the brutality and coarseness of the human condition - in this post-industrial age of toxic waste and a world increasingly poisoned by industry - as it is about the resulting need for catharsis and freedom.
On one level, Low Life deals with industry itself, physically and architec-turally about machines and factories, and psychically and emotionally about humans living amidst the technology of manufacturing and production. Some pieces sound like (and are constructed as) machines, with the parts fitting together mechanically, clanking, buzzing, and whirring away inhumanly: huge machines torque to their limits, cold metal is pressed and shaped, joints needing lubrica-tion squeal with friction, factory workers amidst yell above the din, lament their brutal environs, and attempt to drown their sorrows. In 1992 an unrelated book of photographs by Luc Sante appeared, documenting the conditions of the under-class in New York during the industrial revolution, appropriately titled Low Life.
The machines involved in the creation of this album also play a very important creative note, analogous perhaps to the role of computer-generated and cut-up "randomness" in the collaboration between Brian Gysin and William Burroughs on the book titled The Third Mind. The notion of another entity being invoked when intense collaborative creativity manifests itself is more significant yet than the specific tools involved, and, like the musical phenomenon of higher har-monics flying like sparks off of clashing or harmonious tones below, evokes notion of higher entities, consciousness, or even planes of reality. More than mere creative beings, however, Brotzmann and Laswell carry complicated worlds of reference, and Low Life is, on yet another level, a frontier between highly entrenched sensibili-ties rooted respectively in Europe and America.
Brotzmann has always performed exclusively in contexts of improvisa-tion, and is well known for his dislike even of the idea of overdubbing instruments to create a piece of music. No stranger to improvised music, Laswell manipulated the studio environment in such a way as to create a spontaneous and interactive environment for their duets, which arguably become a trio with the recording studio as a third partner. The mysterious processes in the studio that resulted in the cre-ation of Low Life were arguably even more spontaneous than the traditional record-ing of improvised music (i.e., the FMP records where microphones are placed, tape machine turned on, and everybody just blows), because the technology employed brought in extra techniques and elements of randomness that created new frame-works and spaces for the players. The result is a studio-manipulated recording that remains true to Brotzmann's "pure" improvisational sensibilities, organically incor-porating the usually static elements of recording technology in such a way as to create spontaneous events and ever-shifting environments.
New spaces. Huge factories, industrial warehouses and smelly, twist-ing alleyways. Something else out there. Cramped booths in the back rooms of stuffy, smoky bars. Machines and humans, mechanical humans and machines with life. Low Life. (Peter Wetherbee)
Low Life is a 1987 recording by half of the legendary quartet Last Exit, which was still a fairly new band at the time. For the album, Peter Brötzmann sticks entirely to his bass saxophone while Bill Laswell plays a variety of electric basses and tosses in the odd loop or sound effect. The result, given the choice of instrumentation, is not surprisingly dark and brooding but nonetheless powerful and often riveting. As in Last Exit, Laswell's thick sound and funk-based sensibility (even when the latter is not explicitly stated) provide a solid ground for Brötzmann's ruminations, whether dour or incendiary. "Death Rattle," the opening track, is a ferocious example; the furious, almost subsonic rumblings of the bass sax deflect metallic whangs and pings hurled its way like an unstoppable juggernaut. There's a spare, wintry feel to several of the pieces, with the cynical, reality-bitten nature of these two musicians becoming almost palpable. But there is also much musical richness to be found in this plumbing of the depths. Low Life offers a clear example of the perhaps surprising likemindedness and affinity of these two strong-headed individuals, and is a valuable document of the Last Exit period. (by Brian Olewnick, AMG) |
| SPOILER! | | CODE | Exact Audio Copy V0.99 prebeta 3 from 28. July 2007
EAC extraction logfile from 2. August 2009, 13:34
Peter Brotzmann & Bill Laswell / Low Life
Used drive : PLEXTOR DVDR PX-810SA Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
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1 | 0:00.33 | 4:28.32 | 33 | 20164
2 | 4:28.65 | 3:33.15 | 20165 | 36154
3 | 8:02.05 | 3:01.68 | 36155 | 49797
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9 | 26:03.10 | 8:10.43 | 117235 | 154027
10 | 34:13.53 | 4:13.15 | 154028 | 173017
11 | 38:26.68 | 2:33.25 | 173018 | 184517
Range status and errors
Selected range
Filename E:\INCOMING\EAC\Peter Brotzmann & Bill Laswell - Low Life.wav
Peak level 97.6 %
Range quality 100.0 %
Test CRC 79E852B8
Copy CRC 79E852B8
Copy OK
No errors occurred
End of status report |
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Extractor: Exact Audio Copy v0.99pb3
Codec: Monkey's Audio 3.97
Compression: High Lossless
Total Time: 41:00
Ripper: SurowyTato
|
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Peter Brotzmann & Bill Laswell - Low Life (1993), EAC-APE-CUE-LOG-HQCovers | CELD 5016
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