Forty(!) years later, in his late 60s, Brötzmann still demonstrates uncompromising music of almost same level of energy.
#PETER BROTZMANN FOR ADOLPHE SAX FREE#
Brötzmann's sound is "one of the most distinctive, life-affirming and joyous in all music" and he has performed with almost all of the major players of free music from early associations with Don Cherry and Steve Lacy to regular groupings with Peter Kowald, Alex Von Slippenbach, Han Bennink and Fred Van Hove, the Chicago Tentet (Mats Gustafsson/Joe McPhee/Ken Vandermark and more) and various one-off and ad hoc associations with many others including Keiji Haino, Derek Bailey, Evan Parker, Anthony Braxton and Rashied Ali.Peter Brötzmann took European free jazz scene by force with his "Machine Gun" album in 1968 - far not every trash metal band of next generations demonstrated such explosive angry and energetic sound. Self-taught on Clarinet and Saxophone, Brötzmann established himself as one of the most powerful and original players around, releasing a number of now highly sought after sides of musical invention including the epochal 'Machine Gun' session in 1968 - originally released on his own Brö private press and later recordings for FMP (Free Music Production) the label he started with Jost Gebers. However he continued to paint and his instantly recognisable visual sensibility has produced some of our favourite LP sleeves as well as a number of gallery shows in recent years. Peter Brötzmann is one of the most important and uncompromising figures in free jazz and has been at the forefront of developing a unique, European take on free improvisation since the 1960s.īrötzmann first trained as a painter and was associated with Fluxus (Participating in various events and working as an assistant to Nam Jun Paik) before dissatisfaction with the art world moved his focus towards music. The recording of this piece was one of the outstanding albums of 2014. In 2011, they commissioned a concert-length piece by KORBER for saxophone quartet and live electronics entitled Musik für ein Feld. They have commissioned and recorded works by Barry Guy, Jürg Frey, Klaus Lang, Martin Brandlmayr, and Chiyoko Szlavnics, among others. KONUS QUARTETT are devoted to a radical repertoire, both in form and substance. As a composer, his impeccable works revolve around an immersion into stripped-down, silence-pregnant, interrelation-rich sound worlds. KORBER has worked with major figures from the electroacoustic improvisation scene (Günter Müller, Jason Kahn, Keith Rowe) and the onkyo improvisation scene (Toshimaru Nakamura, Otomo Yoshihide). Swiss electronician TOMAS KORBER started releasing music about fifteen years ago, right when the Swiss saxophone quartet KONUS QUARTETT (Christian Kobi, Fabio Oehrli, Jonas Tschanz, Stefan Rolli) was formed. The piece was premiered last Spring during an Asia tour and at he the at the FIMAV-FESTIVAL MUSIQUE ACTUELLE VICTORIAVILLE. The second collaboration with Tomas Korber has a new release following called “Anschlussfehler”. The quartet played at Oto back in 2017 and performed pieces by Jürg Frey and Chioko Szlavnics. The second part of the evening is played by the Konus Quartett together with the composer Tomas Korber. The album was self-produced under his BRO record label imprint and sold at concerts, but it was later marketed by FMP. In 1968 Machine Gun, an octet recording, was released. For Adolphe Sax, Brötzmann's first recording, was released in 1967 and featured Kowald and drummer Sven-Åke Johansson. Among his first musical partnerships was with double bassist Peter Kowald. He taught himself to play clarinets, then saxophones he is also known for playing the tárogató. Brötzmann has designed most of his album covers. He experienced his first jazz concert when he saw American jazz musician Sidney Bechet while still in school at Wuppertal, and it made a lasting impression. He studied painting in Wuppertal and was involved with the Fluxus movement but grew dissatisfied with art galleries and exhibitions. Listening to Peter Brötzmann solo is an ambiguous experience! MÜNSTER BERN is the name of the CD which was recorded in 2015 in the Bern Cathedral. With Peter Brötzmann, the swiss label presents an outstanding artist in it’s ranks.
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