snobb Peter Brötzmann took European free jazz scene by force with his "Machine Gun" album in 1968 - far not every trash metal band of next generations demonstrated such explosive angry and energetic sound. Forty(!) years later, in his late 60s, Brötzmann still demonstrates uncompromising music of almost same level of energy.

"Roma" is three-improves containing self-released live album of Peter Brötzmann's trio (with two other highest class European radical avant-garde musicians - Norwegian drummer Paal Nilssen-Love (The Thing,etc,etc) and Italian electric bassist and Zu band member Massimo Pupillo)recorded during traditional concert at Casa Del Jazz in Rome. Self-released with minimalist packaging and quite good sound/mix quality it was designed for sale at concerts.By its content it's far not just casual memorabilia though - from very first sounds you are blown by sound viscosity built with deep and rich electric bass and complex thunder-like drumming (both Pupillo and Nilssen-Love have their roots more in avant-garde rock /improvs than in avant-garde jazz).

Brötzmann himself sounds probably less angry than 40 years ago, but no way less angular or explosive and for sure more mature.During almost half of century he recorded lot of albums and collaborated with virtually ever significant musician from the radical wing of European/world avant-garde jazz, but even after so many years and having so huge musical legacy, albums like "Roma" still sound fresh and still wonder the listener.

snobb Peter Brotzmann's "Nipples" for years if not for decades was a cult rarity of early European avant-garde jazz. Re-released on CD, it became much more accessible, and in part it destroyed the legendary album's image.

Just two compositions, one on each vinyl LP side (CD re-release contains one bonus track). Title song almost 18 minutes long is played by sextet - with second tenor sax by Evan Parker, Derek Bailey on guitar,pianist and rhythm section. Angular,fast,explosive it demonstrates excellent level of communication between all musicians and are great illustration of collective musicianship,truly European avant-garde jazz classic (having a lot in common with American avant-garde of its time, it still sounds quite differently - far from smokey NY lofts,more cold,calculated,kind of Germanic modernist music for stylish cafes with polished aluminium and bright plastic furniture - I still visit one such place time to time when in Wien).

Unfortunately Side B played by quartet of Brotzmann, pianist Fred Van Hove and rhythm section (Han Bennink and relatively unknown bassist Buschi Niebergall)is quite a different thing. Only slightly shorter (15 and half minutes) this composition concentrates on personal soloing of each musician,but as a result very soon becomes bulky,unfocused and openly boring at the end.

With all respect to time when this album was released and its cult status, this release could be recommended only in part,Brotzmann has really stronger works in his huge discography.Side A is still an excellent evidence of its time's atmosphere.