And via Paik I met a couple of the Fluxus guys, among them Tomas Schmit and with him I took part in some Fluxus activities in Amsterdam the following year. What was the main influence that led this decision towards music making?Ī misinformation: I never was a member of the Fluxus movement, I assisted Nam June Paik at his exhibition at ‘gallery Parnass’ in Wuppertal. You were actively engaged with it, but soon decided that you want to invest more effort into your music, as you grew dissatisfied with art galleries and exhibitions. Korean American artist Nam June Paik acquainted you with the Fluxus.
#Peter brotzmann octe free#
“There is nothing like that in the field of music and in life, nothing in this world is FREE you just spread your elbows and make a bit more space for yourself.”īack in the 1960s you were part of the Fluxus movement – experimental art performances which emphasized the artistic process over the finished product. Peter Brötzmann is one of the most outstanding saxophone players in the current international (free) jazz scene. These are hand numbered and limited.Peter Brötzmann interview Interview with maestro of free jazz
Package includes 3 CDs in unique cardboard cases, fold-out insert with phots and notes, and a slip-case to house the set. Richard Cook & Brian Morton, The Penguin Guide to Jazz on CD, fifth edition An affecting tribute to the great man and his influence on a world of improvising which is still evolving and expanding - but the players were clearly having too much of a good time to get all weepy and emotional about it. The sheer exhilaration of hearing Brötzmann, Williams, Vandermark, and Gustafsson piledriving along as a reed section is about as awesome as you’d expect, but there’s much else here to surprise and captivate: the wordly groove of “Makapoor”, the sombre granite-block textures of “Other Brothers” which explode into a fast shuffle. Of course he plays a huge role as a performer, but so do the other reed players, besides the other participants. In fact, Brötz himself contributes only two pieces, “Burning Spirit” and “Foolish Infinity” the others come from Bishop, Gustafsson, Zerang, Drake and Lonberg-Holm, so it can fairly be said to be a co-operative effort, even if the saxophonist’s name features on the marquee. (We should also remark that the simple elegance of the design and artwork, also by Brötzmann, makes a mockery of the elaborate and preposterous packaging which major labels such as Verve seem to be investing so much effort in.) There are one and a half discs each of live and studio material, with three compositions appearing in each incarnation. Should be fairly described as a landmark recording on several levels: a major documentation of Brötzmann on an American label, a rare instance of his large-group music, and a definitive meeting of himself with some of the many American masters - from McPhee to Vandermark - who’ve been influenced by him. Produced by: Peter Brötzmann, Bruno Johnson & John Corbett Divide By Zero 10:40 Jeb Bishop (Harustex) Other Brothers 24:44 Ken Vandermark (exploding music/BMI)Ĥ. Old Bottles, No Wine 9:20 Mats Gustafsson (STIM)ģ. Foolish Infinity 26:12 Peter Brötzmann (GEMA)Ģ. Makapoor 12:53 Michael Zerang (MUNIMULAMUSIC/BMI) & Hamid Drake (Smiling Forehead Music/BMI)ġ. Immediate Music 13:49 Fred Lonberg-Holm (Jilmar Music)Ĥ. Foolish Infinity 26:45 Peter Brötzmann (GEMA)ģ. Divide By Zero 12:53 Jeb Bishop (Harustex)Ģ. Aziz 9:46 Michael Zerang (MUNIMULAMUSIC/BMI)ġ. Old Bottles, No Wine 9:46 Mats Gustafsson (STIM)Ĥ. Other Brothers 24:39 Ken Vandermark (exploding music/BMI)ģ. Burning Spirit (for Kazuka Shiraishi) 29:42 Peter Brötzmann (GEMA)Ģ. Joe McPhee - pocket cornet/valve trombone/soprano saxĪdditional Design & Production by: Louise Molnarġ. Mats Gustafsson - baritone sax/fluteophone Mars Williams - tenor/alto/soprano sax/clarinet Peter Brötzmann - tenor sax/clarinet/tarogato Ken Vandermark - tenor sax/clarinet/bass clarinet
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