Atavistic Records: ALP187 
http://www.atavistic.com/albums.php?id=473

* Peter Brötzmann: b-flat clarinet, tarogato, alto saxophone, tenor saxophone
* Marino Pliakas: electric bass
* Michael Wertmüller: drums

- http://www.peterbroetzmann.com/
- http://www.marinopliakas.com/
- http://www.michaelwertmueller.com/

01. Black hole (02.27)
02. Suzy (03.40)
03. Ellis (06.27)
04. Alice (03.42)
05. String (03.01)
06. Atlas (06.26)
07. Protoneparcel (10.35)
08. Higgs (04.27)
09. Teilchencrash (02.32)
10. Large Hadron Collider (05.57)
11. Quarks up/down (03.07)

Reviews
~~~~~~~
By Garnaalpisser - © stef 
http://freejazz-stef.blogspot.com/2009/12/sax-trios.html

Recorded in March 2008 at Radio Studio Züric, the titel of the album defines the
music quite well, although on the second track, "Suzy", Brötzmann plays quite
softly, melodically and sensitively over the wild powerful bass of Marino
Pliakas and the unrelenting drumming of Michael Wertmüller. But don't worry,
Brötzmann fans will find plenty to enjoy here, but it must be said, the quieter
parts, as on "String", or on "Protoneparcel" on which he plays tarogato suit him
quite well, showing a more sensitive and subtle face. All track titles are
related to the extreme experiments of particle physics that took place at CERN
in Switzerland last year, in search of the Higgs Boson particle, an experiment
which, some claimed, could have devastating results including the creation of a
black hole in which everything (EVERYTHING!) would disappear, an inspiring
concept to Brötzmann, Pliakas and Wertmüller, who are the ideal band to
accompany this event, in analogy to the string ensemble that kept playing while
the Titanic went down. Strong double CD!


CERN 
http://en.wikipedia.org/wiki/CERN


By Thom Jurek 
http://www.allmusic.com/album/black-hole-r1466358
The Full Blast trio includes Peter "Superlungs" Brötzmann on reeds and winds,
electric bassist Marino Pliakas, and drummer Michael Wertmüller. The trio issued
an intense workout that was recorded in 2006 on the German Jazzwerkstatt imprint
and featured five untitled improvisations. This second offering was recorded at
Radio Zurich over two days in March of 2008. By contrast, there are 11 pieces
here, the vast majority structured almost like proper tunes -- yes, they are
titled -- and range from two and half to six and a half minutes, most of them on
the shorter side of the scale. There is one long workout entitled
"Protoneparcel" in the middle of the recording. Whereas Full Blast's self-titled
debut felt very much like a Brötzmann solo offering with sidemen, this date
feels very much like a collaborative effort. The relative comfort of the
individuals with one another is quite amazing, given the powerful musical
personality of Brötzmann. The electric bass of Pliakas is the real glue in these
proceedings: it has enough of a dynamic range to actually engage the different
sides of the saxophonist's nature. Wertmüller is a drummer of extreme dexterity
and range, though his muscular approach to the kit recalls both Milford Graves
and a younger Billy Cobham. His rim shots, which occur with constancy, are
actually a trademark.

Perhaps it's because of the flexible but powerful nature of the rhythm section
that Brötzmann is able to engage different aspects of his other side -- B-flat
clarinet is played as much as the tenor saxophone, and his alto and a tarogato
are heard here with regularity as well. The set kicks off with the title track,
a brief wall of skronk that recalls Brötzmann's days with Last Exit (minus the
guitar, of course), but the hyper-rolling bassline of Pliakas is amazing -- he
sounds more like a speed metaller than a vanguard jazzist. But the shimmering
snare breaks that kick off "Suzy," with popping basslines under every one of
Wertmüller's phrases, usher in a very restrained Brötzmann on clarinet and hint
that there is something different afoot. No matter how intense the rhythm
section becomes, Brötzmann remains focused on his constructed and very
restrained melody even as his tones grow longer and shift registers. The knotty,
intricate polysyllabic scalar line that introduces "Alive" is at a furious
tempo, but it feels more like mutant bebop with a nearly discernible "melodic"
line through the first couple of minutes, even as Pliakas gets near funky in his
bass runs. The shifts, canards, and tricks go on for the entire record,
providing plenty in this vanguard free jazz fest for you to sink your ears into
over and over again. This is free music at its best: fire, fun, and further
exploration of the heretofore unknown.