The album is available in a limited vinyl pressing of 600 copies. He contrasts Brötzmann in a strange but perfect way, no matter if the old colossus of Wuppertal decides to play in an Ayler-esque or melancholic way. Adasiewicz’s style is brittle and crystal clear again, as if his instrument was made of ice.
It is a pure jazz ballad that could almost pass as free cool jazz. A perfect example is the beginning of the title track, one of the most accessible tracks Brötzmann has recorded in his career. Mollie’s in the Mood rather shows the new Brötzmann, more placable, introspective, less angry – but still gripping. When Brötzmann worked together with Jason Adasiewicz it was indeed his first collaboration with a vibraphonist and since then (on Going All Fancy in 2012) he has played with him several times, even in a quartet with John Edwards and Steve Noble that also released the splendid Mental Shake. On top of this there is a steady output of new releases, here is a short overview of the latest ones.īrötzmann/Edwards/Noble – Soulfood Available (Clean Feed, 2014) **** And if you have a look at his homepage, the spring is packed with tours and single dates all over Europe and Japan. He seems to have become a bit mellow with age, there is more melancholic bluesy stuff than harsh outbursts which fits his style perfectly, though.
I was a bit worried hearing this but then again it was a very good show although he could only play a one-hour-set plus encore.
He said that he was okay for his age but had problems with his lungs, blowing out was still alright but breathing in was a problem due to smoking a lot when he was younger. Recently when I spoke after a show with young German drummer Oliver Steidle, I asked him how Brötzmann was doing because at close range he looked a bit rough (on the other hand he had just turned 75 in March).
The reason mainly is that he has been touring a lot and many people have seen him quite often.
When you go to a Brötzmann concert in Germany, they are not really crowded in general.