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BRÖTZMANN / LEIGH

Two fearless musicians capable of extreme dynamics and subtleties, as BRÖTZMANN/LEIGH 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.

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Sparrow Nights is Peter Brötzmann and Heather Leigh's most enduring record to date, and their first studio album. A series of emotionally rich and boldly elucidated tonal and timbral exchanges played like compositions on pedal steel and reeds, the tracks are cold-forged minimalist blues motifs dragged from instrumental laments.

'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

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. 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.

Contact

John Stevens

Territory

Europe