Two fearless musicians capable of extreme dynamics and subtleties, Peter Brötzmann (reeds) and Heather Leigh (electric pedal steel guitar) bring together countless decades of experience at the cutting edge of ferocious speed-of-thought improvisation and deep lyrical soul.
A debut release by the duo, Ears Are Filled With Wonder, is due soon on Not Two Records (CD) and Trost Records (limited edition vinyl LP), and captures the glorious oscillations between unexpected beauty and jagged tonal attack generated by these two storied players when they lock in.
“This is a music that demands re-visiting, that seems to alter, slightly, every time it is played, with new details emerging, new relationships of tone and style, new romance, even… music of organic depth, of endlessly evocative unfolding, as themes bloom and sigh and disappear and arise and it feels curiously out of time, even as both players push their instruments into futuristic configurations. As such it doesn’t sit neatly in either players’ extensive catalogues. Rather, this is a music of perpetual change, of summing up and of pushing on, a music that feels genuinely new even as it runs an umbilical deep into the tradition of getting out” – Moshe Idel in the liner notes for Ears Are Filled With Wonder
The daughter of a coal miner, weaving a trail from West Virginia to Texas and now residing in Scotland, Heather Leigh furthers the vast unexplored reaches of pedal steel guitar. Her playing is as physical as it is phantom, combining spontaneous compositions with a feel for the full interaction of flesh with hallucinatory power sources. With a rare combination of sensitivity and strength, Leigh’s steel mainlines sanctified slide guitar and deforms it using hypnotic tone-implosions, juggling walls of bleeding amp tone with choral vocal constructs and wrenching single note ascensions.
Peter Brötzmann is one of the most important and uncompromising figures in free jazz and has been at the forefront of developing a unique, European take on free improvisation since the 1960s.
Brötzmann first trained as a painter and was associated with Fluxus (Participating in various events and working as an assistant to Nam Jun Paik) before dissatisfaction with the art world moved his focus towards music. However he continued to paint and his instantly recognisable visual sensibility has produced some of our favourite LP sleeves as well as a number of gallery shows in recent years.
Self-taught on Clarinet and Saxophone, Brötzmann established himself as one of the most powerful and original players around, releasing a number of now highly sought after sides of musical invention including the epochal ‘Machine Gun’ session in 1968 – originally released on his own Brö private press and later recordings for FMP (Free Music Production) the label he started with Jost Gebers. Brötzmann’s sound is “one of the most distinctive, life-affirming and joyous in all music” and he has performed with almost all of the major players of free music from early associations with Don Cherry and Steve Lacy to regular groupings with Peter Kowald, Alex Von Slippenbach, Han Bennink and Fred Van Hove, the Chicago Tentet (Mats Gustafsson/Joe McPhee/Ken Vandermark and more) and various one-off and ad hoc associations with many others including Keiji Haino, Derek Bailey, Evan Parker, Anthony Braxton and Rashied Ali.
No shows booked at the moment.