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Nipples features Han Bennink (drummer), pianist Fred Van Hove and tenor saxophonist Evan Parker and Derek Bailey (also great free-jazz guitarist). It follows the more abrasive Machine Gun. I've seen Nipples described as being "more melodic" than Machine Gun and I suppose that compared to the more brutal Machine Gun, it is. I would urge caution, though, in an absolute sense it isn't. That said, if you're here in the first place, I'm sure you aren't averse to this kind of thing.
Anyway, I'd recommend Nipples; it's a fantastic line-up that plays on this. A wonderful and exciting slab of late 60s European free-jazz. It's not in the least easily listening, but it's a fantastically energetic album, which could be said to have had an influence on many other artists and not necessarily just in jazz. The sheets of noise that Bailey's guitar produce, for example, could, I suppose be regarded as being influential on the harder edges of avant-garde and noise rock.
So; if you like the more extreme sides of Ayler's playing, this is awesome. If you prefer something a little more mellow, I wouldn't bother.
Because of the freedom the musicians have given themselves, anything could happen at any time. This makes the listening experience - and surely the playing experience - so much more intense and and depthful than usual. The communication between Han Bennink (drums) and Buschi Niebergall (bass) in their feature for the first 6 minutes or so of the second track, 'Tell a Green Man' is phenomenal, and of course once Van Hove and Brötzmann join the improvisation the energy, depth and communication just keep on going at full throttle, bringing through some great melodies as well as amazing textures throughout.
ps i just saw him play in the village maybe 2 days ago, with william parker and milford graves, and seeing the way they all interacted and improvised with one another, just completely changed the way i feel about music. at all costs, try and catch one of their shows, i promise you it will be the most intense ninety minutes of your life.
Of these three titans of European free improv, Brotzmann has persevered with his raw, wild sound most single-mindedly over the years. Bailey's odd orthogonal electric picking gives NIPPLES a more open texture than MACHINE GUN. Parker has not yet fully evolved into "Evan Parker" yet here (of the amazing circular breathing and overtones, most awesomely with the Parker/Guy/Lytton trio), and what we hear is a player still clearly using late Coltrane as a point of reference. Parker is into manic, high-pitched, circular blowing totally distinct from Brotz's more guttural, earthy sound.
The "second side" is a quartet featuring Brotz, Han Bennink (percussion) and Fred van Hove (piano) without Parker and Bailey, and not only is it great stuff, but provides a fascinating contrast to the sextet. Thanks to Atavistic for their new Unheard Music series!
Nipples was released soon after Brotzman's breakthrough disc, Machine Gun. It lacks that work's unrelenting quality, plus it is written for a smaller ensemble. But this does not mean this is wimpy music....rather it is only for the brave. Brotzman's tenor is scorching. He has a raspy screetch that is all his own and dominates the ensemble everytime he plays. His foil on this date is Evan Parker. On this recording Parker is still in his post Coltrane mold, not having developed the unique style he would show on later discs. But his style here fits the ensemble in a way that his cooler later style wouldn't. Backing up the horns is a rhythm section with Fred Van Hove playing his mix of Cecil Taylor and Stockhausen, Derek Bailey on guitar extracting sound that borders on pure noise (it's easy to see why today's noise artists love Bailey so much) Hans Bennick on drums and Buschi Niebergall on bass. The result is a full scale attack of energy. At first you are just hit by the sonic assault, but with added listening you come to appreciate the group's sense of interplay and shifting textures. Unlike many bad free players, Brotzman's groups understand that you can't just play in your own little world....all the time. As a result, this disc is more than just "extreme", it is music.
The second side is a little less intense than the first. Parker and Bailey bow out and the piece is played by Brotzman and the rhythm section. As a result, you can appreciate Brotzman's soulful side as well as his fierce side. Bennick and Van Hove are marvelous on this cut. Their interplay under Broztman is telepathic.
Once again, thanks to Atavistic for this marvelous rerelease of legendary but rare music. The transfer quality is excellent as are the reproductions of the original liner notes and artwork. Atavistic is the standard by which many other independent labels should be judged.
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