- #PETER BROTZMANN FOR ADOLPHE SAX PLUS#
- #PETER BROTZMANN FOR ADOLPHE SAX PROFESSIONAL#
- #PETER BROTZMANN FOR ADOLPHE SAX FREE#
#PETER BROTZMANN FOR ADOLPHE SAX FREE#
A shift in attitude in America and Europe meant improvisation and free playing took its share of audiences. However, gradually, free jazz was becoming better received, the audiences grew and players began to press albums and record more of their music.
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“No-one made a living in the 1960s from free-form playing and nearly all players had other jobs,” Brotzmann adds. He played tiny venues in the early days but never ever gave up. He knew would perhaps make little money, but it also allowed him to take his own time and do things his own way. “In society,” he says, “to do something against the mainstream, you have to be aware that you have hard times to face and decide for yourself which way to go.” Peter never had a problem with accepting that when he decided to play free jazz. I asked him if he ever came close to giving up.
![peter brotzmann for adolphe sax peter brotzmann for adolphe sax](https://www.jazzmusicarchives.com/images/artists/peter-brotzmann-20160903001209.jpg)
That said, it remained difficult financially, especially as he had a family by the time he was 21. But as his musical prowess became clear and word got around that there was something very different on offer, not only from Peter but from the small band of free players who were emerging both in Europe, the UK and America, more people came to free-form gigs. When Peter began playing free-form jazz in the late 1960s, he found it difficult at first to make a living because audiences remained resolutely small. He has released over fifty albums as bandleader, and appeared on countless others.
![peter brotzmann for adolphe sax peter brotzmann for adolphe sax](https://s3-eu-west-1.amazonaws.com/ourboox-media-prod/wp-content/uploads/2019/04/11192904/PeterBrotzmann41-1024x793.jpg)
Peter has made side trips into several genres, including noise music and heavy rock, but has always returned to free jazz. His Die Like A Dog group, which included Toshinori Kondo, William Parker and Hamid Drake, recorded and played loosely based on Albert Ayler’s music. The elder Brotzmann has been in many long-term projects - such as the Chicago Tentet (originally an octet but expanded to include more musicians) with players including Gustaffson, Ken Vandermark, William Parker and others - where Brotzmann leads but allows these other strong musicians their own fields to play on, as well. Caspar has been releasing material since the late 1980s, when he issued The Tribe in 1987 followed by Black Axis in 1989. He regularly collaborates with musicians including Evan Parker, Mats Gustaffson, Joe McPhee, Ken Vandermark and his son, the guitarist Caspar Brotzmann - whose guitar playing, incidentally, is almost as free as his father’s sax playing. Since then, Peter has played with many trios, quartets and sextets. In 1970 came Fuck De Boere, a recording of a free session over an hour in length and simply a mind blowing, boundary-pushing reverie.
#PETER BROTZMANN FOR ADOLPHE SAX PLUS#
In 1969, the album Nipples was recorded with many of the musicians on Machine Gun plus UK guitarist Derek Bailey. It is still acknowledged today as one of the seminal recordings of free jazz. This was an octet recording made with players including Evan Parker, Willem Breuker and Han Bennick, among others. In 1967, Peter released his first album For Adolphe Sax on his own Bro label and, in 1968, his second album Machine Gun was released. I began to work without harmonies or any formal format.” “These kinds of people,” he recalls, “gave different information from the ordinary jazz scene so I found it easier to get rid of forms, and start from a new point with art and music. Through working in the fine art scene, he met fellow artists and musicians like John Cage. While he was working as an artist in the early 1960s, Peter was playing jazz occasionally and seeking to play more but unsure of his real direction.
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While still at school, he had seen Sidney Bechet play and this had a lasting effect. In his early 20s, he was involved in the international network of artists known as the Fluxus movement but became disillusioned with the art world and exhibitions.
#PETER BROTZMANN FOR ADOLPHE SAX PROFESSIONAL#
Peter began his professional life as a visual artist, although since his early teens he had played clarinet and tried all kinds of jazz from Dixieland to swing. He, of course, was one of the pioneers of free-form jazz in the late 1960s, and made no deferment to jazz snobbery or established opinions about what jazz was. Superlatives do no justice to the playing, musical experimentation or interpretation which Peter brings to free jazz, so I won’t waste space here. Peter Brotzmann is without doubt one of the most influential players in the free jazz scene, and has been for more than 40 years.