Heather Leigh and Peter Brotzmann bring out something in each other. Usually one for triumphant, throttling solo sections, Brotzmann modifies his tone to remind the listener of yet another element to his playing when he joins forces with the formidable Leigh.
Their 2016 collaboration Ears are Filled With Wonder was a beautiful example of this. Once again on the new Sparrow Nights, the music transcends any time, distance or style voids which would otherwise seemingly separate these two very different musicians. Certain collaborations, like this pair, work incredibly well and surprisingly when, if you listened separately, you might put them together as a final pairing if the world suddenly ended and only two musicians could save it. The surprise of just how well they lay alongside each other, however, is part of the joy of this music.
Peter Brotzmann is positively emotive in his playing, and not just the forceful, manic playing I have come to know and love but another side – a gentler, esoteric side – is allowed to emerge at times throughout Sparrow Nights. This starts with the first track, “Summer Rain,” in which Brotzmann sets repetitive riffs, each with a subtle change before the Heather Leigh’s guitar enters just over half way through and the sax riffs are extended and simple over an open guitar lay out. Absolutely wonderful.
“This Word Love” is improvisation at its best, with both players offering up ideas: The first is a repeated riff from the guitar, over which Brotzmann offers his own improvised take. A clarinet almost forces the way in but Leigh remains gentle, insistent, constant, under his ever-increasingly demanding inserts. At times, the sax wails its discomfort at being so brutally ignored by the constant riff, which just keeps repeating. A beautiful duel.
“It’s Almost Dark” is just over 10 minutes of provocative, engaging and somehow searingly soul-reaching music, with Heather Leigh’s guitar feeling the way for the first four minutes, changing style and rhythms to create an emotive passage. At around four minutes, the sax jumps in, cutting through the formed phrases like a scythe, seeking a key, searching for a base and finally coming back to the original chordal line – all in its own time, something which Peter Brotzmann is expert at. You know a moment like this will come; it is just a case of how Brotzmann gets there. Only he knows the way, but come on, follow him: Brotzmann takes you there just before Leigh’s final guitar at the end. This solo sandwiches “It’s Almost Dark” after almost two minutes of sax solo. To be frank, I don’t think anyone could ask for more at the end of this track.
“Sparrow Nights” begins with deep, sonorous notes over twangy guitar lines which contrast with and then envelope everything like a glove, echoing the lines and enfolding them. There is a playful feel to this, as the sax increases its improvised variations with ever more energy and Leigh’s guitar maintains a solid, steady line. Humorous, clever and a great track.
“This Time Around” begins with some gorgeous Sharrock-like chords and lines from the guitar, exploding on the ears with vehemence and force. Brotzmann joins after the opening, creating his own musical diversions. The line to listen to has to be chosen or you get lost, as the other instrument line threatens to overtake you – yet somehow, this is part of the fun. There is a magical place around half way where the sax and guitar notes merge and become one. It’s a beautiful phrase, only lasting about 10 seconds, but it is truly beautiful.
“River of Sorrow” is explorative from both players as different atmospheres and pictures drift in and out. The atmosphere switches from soft, gentle, searching, tenuous, to rampant, anarchic beauty – and back. Brotzmann on bass clarinet: always wondrous.
“At First Sight” is gorgeous, with a bass line opening which travels throughout the piece, softly supported by Heather Leigh. Eventually, it fades out, then is nursed back to the theme. The ending is interesting and sudden. “All of Us” is a musical tapestry woven from different cloths and put together to make a picture which draws you in to stare or listen for ages. A great track with more musical threads than it seems could possibly be created by only two musicians.
“My Empty Heart” is a complete narrative in itself with Peter Brotzmann explaining to the guitar, which responds and replies, which in turn evokes a different response. The duet parts are a reversal of other tracks: This time, Leigh creates emphatic riffs but the sax won’t relent – then it does. There’s plenty of time for the story to change and develop as “My Empty Heart” is more than 13 minutes long but, interestingly, it feels like five. “The Longer We’re Apart” closes Sparrow Nights and is perfect for purpose. It has a bit of everything from Peter Brotzmann, and complete understanding and solid support from Heather Leigh. A track of mirrors and false roads, yet you feel willingly led.
Even more so than on Ears are Filled with Wonder, there is an understanding between the two musicians on this album. Leigh is creative, reliant and solid on guitar and displays a certain strength in resisting the invitations to spar and the pull of Brotzmann’s power. Meanwhile, Peter Brotzmann is impossible to rein in, a wonderful musician – and the word incredible does not touch him musically.
I spoke with him recently, and also saw him play at London’s Cafe Oto. Brotzmann’s playing is better live now than ever and on this album, we hear just a smidge of the musical treasures he has to offer. Sparrow Nights is something to savor, and listen to with just a touch of awe.
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