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Nipples [Original recording reissued]

Peter Brotzmann Audio CD
5.0 out of 5 stars  See all reviews (2 customer reviews)

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Product details

  • Audio CD (8 May 2000)
  • Number of Discs: 1
  • Format: Original recording reissued
  • Label: Atavistic
  • ASIN: B00004SQVX
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 274,810 in Music (See Top 100 in Music)

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Samples
Song Title Time Price
Listen  1. Nipples17:54Album Only
Listen  2. Tell a Green Man15:32Album Only


Customer Reviews

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Most Helpful Customer Reviews
6 of 6 people found the following review helpful
5.0 out of 5 stars Brutal, hard-blowin' post-Ayler jazz 5 May 2010
Format:Audio CD
Peter Brotzmann is a fantastic avante-garde jazz saxophonist.

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.
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1 of 1 people found the following review helpful
5.0 out of 5 stars An amazing listening experience 18 April 2012
By James
Format:Audio CD|Verified Purchase
A lot of people have asked me how I can possibly listen to this music, which although I'd like them to try it and find out, I can understand their confusion - at least they've not hesitated to call it music anyway. You could call the ruthlessly energetic playing on this record courageously inconsiderate of the listener, and you could say it's hard to listen to. But I think Brötzmann's recording questions that. It questions the function of music. Why should musicians feel they have to produce something that you could fall asleep to if you wanted? Though I'd love to try it, this isn't music to play in the background of an evening meal or to dance to. I see listening to this as an experience and what draws me to it is the intensity of it all.

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.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.8 out of 5 stars  5 reviews
7 of 7 people found the following review helpful
5.0 out of 5 stars one of brotzmann's finest.. 1 April 2002
By "curlywombat" - Published on Amazon.com
Format:Audio CD
i could never understand why so many people fail to mention the melodic part of peter brotzmann's playing, as he is one of the only people i have ever heard (along with only hendrix and coltrane) who fuses wall-of-sound fury with interspersed passages of very fluid, beautiful note collections. but something sets brotzmann's music apart from anything else even musical, something about the way he plays so angry and melodic, that touches something deep inside you, and makes you want to go on a killing spree with a screwdriver and make love to everyone within five feet of you at the same time. this is PASSION, and the amount of it in brotzmann's playing is f**king incredible.
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.
6 of 6 people found the following review helpful
5.0 out of 5 stars A Relentless Force of Nature 17 July 2003
By Christopher Forbes - Published on Amazon.com
Format:Audio CD
Peter Brotzman is one of those artists who's vision is so overwhelming and adamantine that to write about him is almost beside the point. His music is volcanic and like a volcano seems not to care very much what my puny opinion of it really is. Suffice it to say, the music on this disc is the most extreme from of energy jazz that I have ever heard. Next to Brotzman, Cecil Taylor is Mozart and Coltrane's Ascension is a walk in the park. While I am not sure that I can say I enjoy this stuff, I can say that it moves something in me...something visceral.
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.
9 of 10 people found the following review helpful
5.0 out of 5 stars Early template for European free improv 15 Jun 2000
By Autonomeus - Published on Amazon.com
Format:Audio CD
If you're checking out this Brotz reissue, you may have heard his legendary MACHINE GUN. This slightly later recording is a little less intense, less unrelenting. The "first side" is a sextet with Evan Parker on tenor and Derek Bailey on guitar, and that makes this a unique session.

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!
1 of 1 people found the following review helpful
5.0 out of 5 stars No title, just genius... 9 May 2009
By Grigory's Girl - Published on Amazon.com
Format:Audio CD
I can say without hestitation that Peter Brotzmann is my favorite free jazz player.

This is another fabulous, brilliant album from Mr. Brotzmann. I had wanted to get this album for a while, but something funny happened. I was scheduled to go to a comedy club one evening, but the comedienne that I was going to see appeared on TV a few days before, and ranted on politics like she's prone to do. She said a lot of overly simplistic, generalised things (typical of politicos in the US, regardless of which side their on) that frankly I'm sick of hearing, and her manner was a complete turnoff. I decided to take the cash I would have paid for overpriced, watered down drinks and I bought this CD (the drinks would have been cost more, though, and would have been much less artistic). A superb choice, if I do say so myself.

The album has only 2 pieces, both side long tracks. The title track is by far the more intense, but the flip side, Tell a Green Man (great title), is really good too. It's much more impressionistic that the title track. It's reminiscent of the track "Responsible" from Brotzmann's much vaunted (and deservedly so) Maching Gun Sessions album. Both tracks are fantastic and blisteringly intense. It's just what you'd expect from Brotzmann, who is really an extraordinary musician. He's still going today, which is awesome, and seeing clips on youtube of him, he hasn't lost it. He's still wailing like hell. Brotzmann makes ears bleed, lungs pop, and amazes minds and souls. He's incredible, and this is another example of his greatness.
1 of 2 people found the following review helpful
4.0 out of 5 stars not easy listening 20 Aug 2001
By ron s. - Published on Amazon.com
Format:Audio CD
This was the first Peter Brotzmann disc I purchased.I had read reviews and was aware that he is a legend in free jazz circles, but nothing can prepare you for the onslaught of hearing him for the first time. I've been an avid jazz collector and fan for years.My definition of avante-garde and or free jazz was Cecil Taylor. Peter Brotzmann makes Cecil Taylor sound like the Preservation Hall Jazz band! You have to be prepared to give it a few listens; at first I was ready to return it! slowly it starts to take on a logic all it's own.
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