"Pica Pica" Brotzmann/Mangelsdorff/Sommer

Pica Pica is an all-star affair featuring the trio of Peter Brotzmann, Albert Mangelsdorff and Gunter Sommer originally recorded in 1982 at Jazzfest Unna in Germany. Dug out of the Free Music Production archives by the good folks at Atavistic, Pica Picais now available here in the states as part of the label’s Unheard Music Series.

The pairing of Mangelsdorff, an innovator on trombone through his use of polyphonics, with the gut busting, reed-biting tenor of Brotzmann is intriguing to say the least. Not to say that Brotzmann is any less technically sound than Mangelsdorff, but the elder trombonist clearly has pedigree in the classical tradition of his instrument and thus has a, let’s say, calming affect on his counterpart.

And that’s not to say Brotzmann doesn’t blow his little heart out on Pica Pica - he most certainly does that. Jesus - a mere three minutes into “Instant Tears” he’s wailing, exorcising the ghost of Albert Ayler or conjuring images of contemporaries like Anthony Braxton or Ken Vandermark. But mere second later, the moment is more subdued, and Mangelsdorff takes the lead.

What makes Pica Pica so amazing is not that Brotzmann backs off or confines himself to give Mangelsdorff space. The trombonist offers respite to the fits of aggression from the saxophonist and Brotzmann can’t help but adapt to the repetitive accompaniment of Mangelsdorff, which makes Pica Pica far more listenable that much of Brotzmann’s catalog.

Brotzmann is fantastic in support of Mangelsdorff, when he chooses to do so. See, whereas Mangelsdorff never seems to stop playing, with a note here or there while Brotzmann and Sommer get lost in their own world, Brotzmann on the other hand seems to just stop playing when Mangelsdorff solos. Maybe this is best, as Brotzmann’s meaty tone would surely overpower the sometimes-delicate Mangelsdorff.

Sommer’s drumming gets busier on “Wie Due Mir, So Ich Dir Noch Lange Nicht,” filling in the empty space behind Mangelsdorff and Brotzmann with snare rolls and rudimentary exhibition. It’s hard to tell throughout Pica Pica whether Sommer’s low levels in the mix are a result of live recording methods or if the drummer just plain plays soft and if the case is the latter, kudos to Sommer for not trying to compete with Brotzmann in volume. Mangelsdorff’s multiphonics on “Wie Due Mir” are magnificent, so much so that the listener can actually ignore Brotzmann’s alto sax, which here sounds like he is strangling a small puppy.

The fifteen-plus minute “Instant Tears” and “Wie Due Mir” are followed by the briefly entertained title track, which closes the session perfectly. “Pica Pica” is more playful than the two previous tracks, with Sommer almost sounding like his trying to swing on his ride cymbal.

More avant-garde classical than jazz per se, Pica Pica is an outstanding addition to the Atavistic catalog and another great release from the often unheralded, and even sometimes discredited, Brotzmann.