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Customer reviews

5.0 out of 5 stars
Format: Audio CD|Change

on 18 April 2012
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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on 5 May 2010
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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