-Bennink, in a bandana, so often ignores the cymbals, which to me is a real shame during Brotzmann's long notes (this manifests thru the evening...).
-Thinking about the reference points they work from, i.e. how their ears and art evolved. Probably the N.O. in me. More math and operatics in this, less spirituality, less marching music.
-Imagine Brotzmann's hotel room, with the curtains all blown horizontal, sucked in by a sleeping beast.
-There is a basic imbalance going on, and it doesn't work for me tonight. Bennink is waaay louder, and constant. What I mean is, the beat changes, but never stops, and is usually frenetic, if steady in segments. A great sound alone, but the disconnect from Brotzmann's more, uh, thoughtful, quiet stretches is unfortunate. Aging prowess: it can congeal into squarer beats, or it may bare emotion. Brotzmann searches, groans, and Bennink mugs a bit for the audience. This isn't my kind of dialogue, even though it does leave me more interested than before in Brotzmann.
-Maybe the drum always blows out the breath (me and my lion/lamb fix)
-In Violence City, isn't it something to hear this tearing of sound? Bludgeon & bleed soundtrack, but how it fits in this almost bucolic city of ours, that's a wonder well worth recieving.
Thanks to Rob Cambre for bringing in the giants and setting the table.