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For Adolphe Sax (1967) Import, Original recording reissued, Original recording remastered

3.3 out of 5 stars 3 customer reviews

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Audio CD, Import, Original recording reissued, December 11, 2012
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Editorial Reviews

Reissue of Brotzmann's long out-of-print 1st record, one of the most auspicious debuts of free music & a trenchant tribute to the inventor of the saxophone. A roundhousxe punch of European free jazz, delivered in 1967 by original trio, feat. drummer Sven-Ake Johansson & bassist Peter Kowald. Includes a plump gallery of period photos from Brotzmann's personal collection & NEVER-RELEASED 9 minute track w/ addition of pianist Fred von Hove

Track Listings

Disc: 1

  1. For Adolphe Sax
  2. Sanity
  3. Morning Glory
  4. Everything


Product Details

  • Audio CD (December 11, 2012)
  • Original Release Date: 1967
  • Number of Discs: 1
  • Format: Import, Original recording reissued, Original recording remastered
  • Label: Atavistic
  • ASIN: B000066JDV
  • Average Customer Review: 3.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #527,609 in Music (See Top 100 in Music)

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Customer Reviews

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Top Customer Reviews

Format: Audio CD
I used to love him, and while I can enjoy this record to a certain extent, it's actually Brotzmann's presence, in my opinion, that ruins it. At this early stage in his development, he wasn't really doing much beyond making the same high pitched squeal. Now, that wouldn't necessarily be a bad thing, but Peter Kowald and Sven Ake Johannsen are two monumentally talented musicians, and at this point, Brotz just wasn't up to their level yet. Recommended for fans of the rhythm section, but for a better Brotzmann, get either FMP-130 or Little Birds Have Fast Hearts
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Format: Audio CD Verified Purchase
As Brotzmann's first release under his own name, "For Adolphe Sax," takes the saxophone high into the stratosphere of the avant-guarde. While the song structures are minimal, the playing is beyond intense; it is supersonic. Brotzmann blows with a hurricane velocity, emphasizes impossible high notes twisted in all directions. This bass and drums keep up with this mad race to infinity; and all the players sound good in the studio, which is rare for a 1967 free jazz date. That is refreshing.

Mr. Brotzmann's style would deepen and become more complex and tasteful in the many years to come. But the careful listener may discern an entirely new vocabulary and syntax coming through that old horn. That kind of a soul can change the meaning of a horn--forever. I think, after a few listenings, Mr. Adolphe Sax would be happy and proud.
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Format: Audio CD
As much as I hate to be down on Brotz, I just can't get into this. The group doesn't really go anywhere with the music. Being Brotzmann's first album (1967), it's obvious that his playing hadn't yet evolved into what makes him one of the most creative free guys around. I partially agree with the previous reviewer; Kowald and Johansson are at a higher level than Brotzmann at this point, but I'm not crazy about their playing, either.

It seems like the European free music really became something else in the early 70s. The problem with this album is that there isn't really any musical premise (a common complaint with free music, often mistaken). There's nothing wrong with not having any preconceived "plans" for a musical performance, so maybe there doesn't have to be a "premise," but when that element is absent, it's the group interaction which keeps the piece going. To be honest, I'm very surprised that they sustained the title piece for over 19 minutes without running out of steam. Actually, they sort of did run out of steam (there wasn't much to begin with) but they kept on truckin' anyway, for the sake of it. And that's what a lot of Bro's music is--music for the sake of itself. I love and relate to that idea more than you could imagine, but the concept just hasn't yet fully blossomed here.
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For Adolphe Sax (1967)
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