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Right as Rain: Dedicated to Werner L​ü​di


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    (FMP CD 112)
    This solo album lives up to its reputation as Brötzmann's most emotional recording. Dedicated to his longtime friend, Swiss reedsman Werner Lüdi, it's full of quieter moments and hushed melodies. Brötzmann employs a variety of horns for these stark portraits of loss and keening acts of remembrance.
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All compositions by Peter Brötzmann.


released January 25, 2001


"This is an emotionally devastating record, moving from weeping arcs of sound through whispered moments of stillness, but what comes across most of all is a sense of total commitment, an overwhelming need to play."
- David Keenan, The Sunday Herald

"Brötzmann’s latest solo offering, dedicated to Swiss reedsman Werner Lüdi, is the work of a player at the height of his powers. What is worth stressing is that these are compositions, certainly in the sense of each piece containing a particular clear idea and seeing it through. The mighty bass saxophone gets three outings, the tenor five, the bass clarinet just one, and there is also one piece for C clarinet (the longest piece of all, the achingly beautiful “There Were Tears In Her Eyes”). The whole is as well-balanced collection as one dares hope. Personal favorites: the Aylerish feeling of “Do Not Remove”, the simplicity of the bass sax figure kicking off “Not Tonight Or Any Night”, the poignant “Twist, Turn And Leave”, the grave “Wisdom Fattens The Soul Of Men”… in truth, the whole comes highly recommended."
- Rubberneck

"Easily one of Brötz's greatest sessions in recent years, Right as Rain is a fitting and honorable memorial to Werner Lüdi and a tribute to the sheer focus and intensity of Brötzmann, a true giant in our time."
- Jazz Weekly

"In the late spring of 2000, while in the midst of grueling tour with his tentet, Peter Brötzmann received some sobering news. Werner Lüdi, saxophonist, fellow improviser, and friend had passed away. Lüdi had been an infrequent collaborator of Brötzmann's over the years but the two men shared an endemic musical vision as early insurgents in the European free jazz explosion of the late 1960s. While Lüdi dropped in and out of the music, Brötzmann soldiered on swiftly acquiring the coarse and uncompromising reputation as brow-furrowed Teuton that still dogs and precedes him today; but neither man lost his edge or overpowering drive for unpolished creative expression. Hence why the naked emotion of this solitary homage makes so much sense, one man paying respects to another in the most forthright and warmhearted way- through the music each loves. Brötzmann's bass clarinet channels Tuvan-like overtones on “The Rain Went On and On” scattering gelid streaks against a canvas of silence. Giuffrian clarinet weaves a wood nymph spell through the haunting melancholy of “There Were Tears In Her Eyes.” What seems to matter most is that the emotional and visceral essence of each tune is made manifest and conveyed. Lüdi, looking down from the great beyond, would no doubt be pleased."
- Derek Taylor, All About Jazz

"From the burly melody of “Not Tonight or Any Night” and the angular phrasing of “Do Not Remove” to the empathy of “There Were Tears in Her Eyes” and the soulful heartache of “Twist, Turn and Leave,” galaxies dwell in every note Brötzmann plays. On bass sax, tenor sax, or bass clarinet, all of existence seems to thrive in his sound. A relentless force of nature, Brötzmann makes music that’s almost too beautiful to bear, His clarity of vision stands as a potent source of regenerative light and heat."

"Most pieces revolve around a melody — sometimes crystal-clear, at others drowned into a sea of notes. Those looking for a chance to hear the softer side of Brötzmann will find it here."
- All Music Guide

"Peter Brötzmann took two days to record Right As Rain, in memory of Werner Lüdi. He takes his four horns (bass and tenor saxophone, clarinet and bass clarinet), eschews sentiment or anger, and stares directly into a pool knotted with emotion. The “Rain” pieces, stark and disconsolate, betray the impression that Brötzmann barricades himself from regular human feeling. On “There Were Tears In Her Eyes”, simple motifs and long awkward tones (with thoughts of Roscoe Mitchell’s “Sound” or Joseph Jarman’s “Non-cognitive Aspects of the City”) are floored with a melancholy as affecting as Mahler’s Adagietto or an Ellington dirge. Seeking a balm, Right As Rain lays Peter Brötzmann bare."
- Cadence Magazine

Peter Brötzmann: tenor saxophone, bass clarinet, bass saxophone, C-clarinet

Recorded by Holger Scheuermann and Jost Gebers on August 19th & 20th, 2000, in Berlin.

Mixed and mastered by Jonas Bergler.
Produced by Peter Brötzmann and Jost Gebers.

Bookly design/layout: Peter Brötzmann.
Photos: Larry Stanley, André Lützen.


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