Peter Brotzmann Biography Free Jazz To
Being very dissatisfied with the gallery/exhibition situation in art he found greater satisfaction playing with semi-professional musicians, though continued to paint (as well as retaining a level of control over his own records, particularly in record sleeve/CD booklet design). Along with frequent collaborators like Peter Kowald and Han Bennink, Brotzmann is one of the pioneers who first brought Afro-American free jazz to Europe.Peter Brötzmann's early interest was in painting and he attended the art academy in Wuppertal. Appearance as part of Berlin Now a month-long kaleidoscopic cross-section of the cultural life of West. These two exponents of German Free Jazz, Peter Brotzmann and Han Bennink, made their first U.S.
As a trio, and augmented with other musicians who could stand the pace (e.g. He also began to work more regularly with Dutch musicians, forming a trio briefly with Willem Breuker and Han Bennink before the long-lasting group with Han Bennink and Fred Van Hove. Following the self-production of his first two LPs, For Adolphe Sax and Machine gun for his private label, BRÖ, a recording for Manfred Eicher's 'Jazz by Post' (JAPO) , and a number of concert recordings with different sized groups, Brötzmann worked with Jost Gebers and started the FMP label. In the mid 1960s, he played with American musicians such as Don Cherry and Steve Lacy and, following a sojourn in Paris with Don Cherry, returned to Germany for his unorthodox approach to be accepted by local musicians like Alex von Schlippenbach and Manfred Schoof.The trio of Peter Brötzmann, Peter Kowald and Sven-Ake Johansson began playing in 1965/66 and it was a combination of this and the Schoof/Schlippenbach Quintet that gave rise to the first Globe Unity Orchestra. - while experiencing freedoms from a different perspective via Stockhausen, Nam June Paik, David Tudor and John Cage. During 1962/63 Brötzmann, Kowald and various drummers played regularly - Mingus, Ornette Coleman, etc.
Peter Brotzmann Biography Plus Years Of
Peter Brötzmann continues a heavy touring schedule which, since 1996 has seen annual visits to Japan and semi-annual visits to the thriving Chicago scene where he has played in various combinations from solo through duo (including one, in 1997, with Mats Gustafsson) to large groups such as the Chicago Octet/Tentet, described below. But the variety of Brötzmann's playing and projects is less recognised: his range of solo performances his medium-to-large groups and, in spite of much ad hoc work, a stability brought about from a corpus of like- minded musicians: the group Ruf der Heimat pianist Borah Bergman percussionist Hamid Drake and Die like a dog, his continuing tribute to Albert Ayler, with Drake, William Parker and Toshinori Kondo. Always characterised as an energy player - and the power-rock setting of Last Exit with Ronald Shannon Jackson, Sonny Sharock and Bill Laswell, or his duo performances with his son, Casper, did little to disperse this conviction - his sound is one of the most distinctive, life-affirming and joyous in all music. Incus 51), Cecil Taylor, Fred Hopkins, Rashied Ali, Evan Parker, Keiji Haino, Misha Mengelberg, Anthony Braxton, Marilyn Crispell, Andrew Cyrille, Phil Minton, Alfred 23 Harth, Tony Oxley. A group with Harry Miller and Louis Moholo continued the trio format though was cut short by Miller's early death.The thirty-plus years of playing and recording free jazz and improvised music have produced, even on just recorded evidence, a list of associates and one-off combinations that include just about all the major figures in this genre: Derek Bailey (including performances with Company (e.g.
This diversity in compositional style, plus the variety in individualistic approaches to improvisation, allows the Tentet to play extremely multifaceted music. This has allowed the band to explore an large range of structural and improvising tactics: from the conductions of Mats Gustafsson and Fred Lonberg-Holm, to the vamp pieces of Michael Zerang and Hamid Drake, to compositions using conventional notation by Ken Vandermark and Mars Williams, to Brötzmann's graphic scores - the group employs almost every contemporary approach to composing for an improvising unit. Though the Tentet is clearly led by Brötzmann and guided by his aesthetics, he has been committed to utilizing the compositions of other members in the ensemble since the beginning. The first meeting was extremely strong and warranted making the group an ongoing concern and in September of that same year the band was expanded to include Mats Gustafsson (reeds) and Joe McPhee (brass) as permanent members (with guest appearances by William Parker (bass), Toshinori Kondo (trumpet/electronics), and Roy Campbell (trumpet) during its tenure) - all in all a veritable who's who of the contemporary improvising scene's cutting edge.
Interview with Peter Brötzmann available on this site.Brötzmann, Peter (2003), The inexplicable flyswatter: works on paper 1959-1964. Through their effort they've been able to develop an ensemble sound and depth of communication hard to find in a band of any size or style currently playing on the contemporary music scene.Rouy, Gèrard (2001). It is clear that the difficult economics of running a large band hasn't prevented the group from continuing to work together since its first meeting.
22-23, 25.Loewy, Steven A. In Swedish including complete discography at early 1995.Lake, Steve (1986), Last Exit: the living end. Dempsey (2007), Brötzmann Paintings & Objects catalogue.Edel-Rosnes, Gudrun (1995), Nar det later runt, starkt och skont - da tycker jag om det, Granslost, no. Duke University Press, 0 8223 1473 8.
Recordings1968, Machine gun, BRÖ 2/FMP CD24. 5-7.Peterson, Lloyd (2006), Music and the creative spirit, Scarecrow Press, pp. Rusch, Bob (1999), Peter Brötzmann interview. Improvised Company, Japan. 8-14 (includes two pages of reviews by James Hale).Ohshima, Kouichi (1997), Peter Brötzmann discography.
Peter Brötzmann Nonet/Group. 1968/1970, Fuck de Boere, UMS/ALP211CD. 1968, The complete machine gun sessions, ALP262CD.
Includes two previously unreleased tracks. 1970, Balls, UMS/ALP233CD. Quartet + Sextet 1970, Balls, FMP 0020. 1969, More Nipples, UMS/ALP236CD. 1969, Nipples, Calig CAL 30604/ UMS/ALP205CD. Includes one track of the Peter Brötzmann Octet.
Track with Butch Morris and Garrett List on compilation CD. 1984, Look at the music, Olof Bright OBCD09. Including 01.49 of Backstreet girl by Mick Jagger and Keith Richard 1975, Tschus, FMP 0230.1982, Andrew Cyrille meets Brötzmann in Berlin, FMP 1000. 1973, Brötzmann, van Hove, Bennink, FMP 0130/ Atavistic Unheard Music Series UMS/ALP244CD.
1992, Sacred scrape/Secret response, Rastascan BRD 015. With Fred Hopkins and Rashied Ali. 1991, Songlines, FMP CD53. As part of Cecil Taylor Group.
With Borah Bergmann/Anthony Braxton. 1996, Eight by three, Mixtery M00001. With Borah Bergmann/Thomas Borgmann. 1996, Blue zoo, Konnex KCD 5074.
1997, The Cooler suite, GROB 539. 1997, Little birds have fast hearts No. 1997, Little birds have fast hearts No. With Borah Bergmann/Andrew Cyrille. 1996/1997, Exhilaration, Soul Note 121330. With Hamid Drake and Mahmoud Gania.
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