Allmusic.com Review
by Joslyn Layne

This historic free jazz album is a heavy-impact sonic assault so aggressive it still knocks listeners back on their heels decades later. Recorded in May 1968, Machine Gun captures some top European improvisers at the beginning of their influential careers, and is regarded by some as the first European — not just German or British — jazz recording. Originally self-released by Peter Br??tzmann, the album eventually came out on the FMP label, and set a new high-water mark for free jazz and “energy music” that few have approached since. Br??tzmann is joined on sax by British stalwart Evan Parker and Dutch reedsman Willem Breuker (before Breuker moved away from free music, his lungs were as powerful as Br??tzmann’s). The rest of the group consists of drummers Han Bennink (Dutch) and Sven-?Öke Johansson (Swedish), Belgian pianist Fred van Hove, and German bassists Peter Kowald and Buschi Niebergall. Br??tzmann leads this octet in a notoriously concentrated dose of the relentless hard blowing so often characteristic of his music. While Br??tzmann has played this powerfully on albums since, never again is it with a group of this size playing just as hard with him. The players declare and exercise their right to bellow and wail all they want; they both send up the stereotype of free playing as simply screaming, and unapologetically revel in it. The sound of Machine Gun is just as aggressive and battering as its namesake, blowing apart all that’s timid, immovable, or proper with an unrepentant and furious finality. The years have not managed to temper this fiery furnace blast from hell; it’s just as relentless and shocking an assault now as it was then. Even stout-hearted listeners will nearly be sent into hiding — much like standing outside during a violent storm, withstanding this kind of fierce energy is a primal thrill.