546 Seconds of Noise Review

The Flying Luttenbachers - 546 Seconds Of Noise

from Crank, issue #3, spring 1993
written by Marc Masters


An exact replication of the Hal Russell party-jazz aesthetic:
big rock drums, marathon horn squealing, unison sloppiness, and
millions of people (actually 3) running all over the studio. If
Russell's world was one very-large circus tent, these guys were
in a cage watching, waiting, and chewing a few arms and legs
off of confused passers-by. As goofy as it gets, each note more
energy-filled than the entire Fugazi catalog, this could start
a new generation of punk-jazz singles by kids for whom Coltrane
is MacKaye, straight-edge means a clean reed and loud fast
horns rule. I'm serious.




from Yakuza, issue No. 4, August 1993
written by Dave McGurgan


Highly listenable squonk of two tenor saxophonists and one
schizophrenic percussionist. This is some true-to-life, authentic
vibes of inspired jazz recorded in what sounds like a huge theater
or naked room. The musical speaking back and forth between smooth
drum rolls and saxophones running in circles is quite inspiring.
The rich tenor sound of the Flying Luttenbachers is a pleasant,
out of nowhere, startling change to hear. Especially endearing is
the subdued "Life Of Grime," which degenerates into soft bursts
of saxophone screech and manic drumming that quickly evaporates.




from Your Flesh, #28, 1993, pg. 126
written by D. Brett Mizelle


Two tenor saxophones and a percussionist dueling away, with
lots of high energy noise rotating around AA-level Ayler-style
riffs on "Attack Sequence." "Throwing Bricks" and "Life of Grime"
present more of the same without the frameworks from the A-side,
though they do cut back and forth around some laid out sax duet
parts. Not just noise for noise's sake, but not quite free either,
especially since on tracks like "Life of Gime" the drum parts are
way too rock, for a while at least. A nice single and a pleasant
surprise, particularly if yr into stuff like Flaherty & Colburne's
brand of free energy jazz.





from Nice Slacks, issue #3, Winter 1992
written by Tim Russow


If you had just organized a band, but hadn't actually played
together, what would you expect from a recording made during
the band's first assemblage? I can easily understand why "not
much"
comes to mind. I present this scenario so it's easier
for you to understand the uniqueness of 546 Seconds of Noise.
The fact that this is The Flying Luttenbachers' rehearsal and
recording debut reveals their potential and capacity. During these
three compositions, a very potent range of attributes becomes
unmistakable. High-velocity flurries of acute saxophone shrills
and blares (blown by Ken Vandermark and Chad Organ) are routed
by (drummer) Sir Weasel's barrage of rhythm and noise. These
assaults are packed within and (surprise!) actually compliment
harmonic structures that are, at least once, reminiscent of one
Charles Mingus. Though difficult to label (the band prefers punk
jazz), this is a real sleeper.




from Speed Kills, issue 4, spring 1993
written by Scott Rutherford


Dual sax and drums jazz punk from Chicago. Reed blaster Ken
Vandermark stepped into the Luttenbacher fold when Hal Russell (RIP)
left the group last summer to focus on his ECM band, the NRG Ensemble.
Weasel Walter is the man behind the kit, and his jackhammer bashings
drive the band into Minor Threat-meets-ESP Disk territories.
Vandermark's tenor sax and clarinet is battled/complimented/contradicted
by the tenor sax of Chad Organ. Days after this trio coalesced in the
Luttenbachers of NOW, the three tracks that are 546 Seconds of Noise
were recorded. Their "Attack Sequence" is indeed aggressive, the
percussion directing the horn melee right at yr head. Look for a
full-length release sometime soon.




from Nipple Hardness Factor, issue #2
written by Steve Snyder


Three tracks of free jazz squall on a 7 inch. In the vein of
Peter Brotzmann affiliated groups two tenor saxists and a
percussionist lay down some right heavy groove. "Attack
Sequence" and "Throwing Bricks" are aptly titled while the third
track "Life of Grime" begins slow and builds to a mighty
excellent drum overload finale. (3 nipples)




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