![]() ![]() Let's not forget this oracle of the free jazz explosion of the 1960s had (and has) a keen ear for the music of Sidney Bechet, Duke Ellington, and Lester Young. It is as if he were performing for an audience of one. Brötzmann lingers over the sound, eschewing fortissimo as a means of communication. With the title track, he revisits music popularized by Bing Crosby, and made famous by Coleman Hawkins, and then Thelonious Monk. Perhaps that is the source of the sentimentality, though let's not call it nostalgia. ![]() Unlike all his previous unaccompanied outings, here he sticks solely to tenor saxophone. ![]() Typically, one has to stand clear of the blast radius of his performance, but there is something redolent of the past about this session.īy a rough count this is the saxophonist's ninth solo release, dating back to his Solo (FMP Records, 1976), and the more recent (and almost impossible to find) Münster Bern (Cubus Records, 2015). This intimacy is not something you generally associate with Brötzmann's music. This sense of eavesdropping is due to the intimate sounds and the great man's choice of music. You can forgive yourself if you get the feeling that you're a bit of a voyeur while listening to I Surrender Dear, the solo recording by saxophonist Peter Brötzmann. ![]()
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