#PETER BRГ–TZMANN FREE#

Yeah, that is a photo from a Nam June Paik exhibition we did in вЂ™61 in Wuppertal.

ThatвЂ™s actually you on the bottom left, right? Could we please look at picture number one. I would actually like to show a picture from the early вЂ™60s that shows you, and it shows some other artists, and then maybe you can explain to. I started to study advertisement, graphics, paintings and so on. I studied at the Werkkunstschule in Wuppertal, which is a kind of following thing of the Bauhaus schools for example. But at that time, still, my goal was being a painter. So I organized myself a tenor saxophone and started to play. So I started to tour with them, and then, of course, one day they said, вЂњOK BrГ¶tzmann, you need a saxophone. And so I joined them from time to time with my clarinet, and they didnвЂ™t send me home. But the whole shit started in Remscheid because we had a swing/bebop band there already with some advanced students from the Folkwang school in Essen. So I drove my parents and neighbors crazy. But he had to leave school, and I grabbed his clarinet and started to play with my few records I had at that time.

I forgot his name, I donвЂ™t know, but he was very good. We had at the high school, we had a swing/Dixieland band. My goal in the very early years was to be a painter, and I did that with quite some intensity, but music, and especially jazz music, was always on my side. And yeah, I grew up there, the usual school, high school and so on. Yeah, I was born in Remscheid, a middle-sized industrial town at the border of the Ruhr Area, and in 1941 it was I think. But you were born in Remscheid, to mention another one. We might get specific about it, about Dusseldorf versus Cologne versus Wuppertal, but theyвЂ™re literally 20 minutes away from each other. That was recorded in Cologne, and I figured itвЂ™s important to explain that there will be many cities that weвЂ™re going to mention in this talk and theyвЂ™re all about 20 minutes away from each other, so just ignore the city names, itвЂ™s one big region. In the intro, weвЂ™ve listened to a piece by Mauricio Kagel, вЂњEin AufnahmezustandвЂќ which is from 1969. Please give a very warm welcome to Peter BrГ¶tzmann. In his lecture at Red Bull Music Academy 2018 in Berlin, BrГ¶tzmann talked about learning from the вЂ™60s avant-garde, why he doesn't believe in teaching jazz and how improvisation comes down to fitting or fighting.

In 2017 he released Live In Tel Aviv, a live album with trombonist Steve Swell and drummer Paal Nilssen-Love, and in 2018, his third studio collaboration with steel guitarist and singer/songwriter Heather Leigh, Sparrow Nights. With over 100 releases to his name, including some with jazz supergroup Last Exit, BrГ¶tzmannвЂ™s creative passions have not diminished.

#PETER BRГ–TZMANN FREE#

His octet album Machine Gun remains a seminal free jazz album of the late вЂ™60s, a genre-expanding work that aurally articulated the anxieties surrounding the Vietnam War and his countryвЂ™s uncertain future. Primarily a saxophonist and clarinetist, BrГ¶tzmann has worked with experimental greats such as Dutch drummer Han Bennink, British fellow saxophone powerhouse Evan Parker and Japanese sound artist Keiji Haino, exploring an avant-garde, largely improvisational style of free jazz with his signature rough timbre. Peter BrГ¶tzmann is a revered free jazz musician from West Germany whose over 50-year career has taken him from the interdisciplinary radicalism of the late 20th-century Fluxus art movement to extensive collaborative and solo recording and performance.

Peter brГ¶tzmann