Walk, Love, Sleep (Smalltown Superjazzz, 2012).Going All Fancy with Jason Adasiewicz (Brö, 2012).Yatagarasu with Masahiko Satoh (Not Two, 2012).Live in Wiesbaden with Jörg Fischer (Not Two, 2011).Goosetalks with Johannes Bauer (Kilogram, 2010).Hairy Bones with Toshinori Kondo (Okka Disk, 2009).SweetSweat with Paal Nilssen-Love (Smalltown Superjazzz, 2008).The Fat Is Gone with Paal Nilssen-Love (Smalltown Superjazzz, 2007).American Landscapes 2 (Okka Disk, 2007).American Landscapes 1 (Okka Disk, 2007).Live at Spruce Street Forum with Lisle Ellis (Botticelli 2004).The Inexplicable Flyswatter (Atavistic, 2003).The Ink Is Gone with Walter Perkins (Brö, 2003).Short Visit to Nowhere (Okka Disk, 2002).Organized Chaos with Nicky Skopelitis (Konnex, 2002).The Atlanta Concert with Fred Hopkins (Okka Disk, 2001).Eight by Three with Borah Bergman (Mixtery, 1997).Exhilaration with Borah Bergman (Soul Note, 1997).Sacred Scrape with Gregg Bendian (Rastascan, 1994).Die Like a Dog with Toshinori Kondo (FMP, 1994).Songlines with Fred Hopkins (FMP, 1994).The Marz Combo Live in Wuppertal (FMP, 1993).In a State of Undress with Jay Oliver (FMP, 1989).3 Points and a Mountain with Misha Mengelberg (FMP, 1979).Since 1997, he has toured and recorded regularly with the Peter Brötzmann Chicago Tentet (initially an octet) which he disbanded after an ensemble performance in November 2012 in Strasbourg, France.īrötzmann has also recorded or performed with Cecil Taylor, Keiji Haino, Willem van Manen, Mats Gustafsson, Ken Vandermark, Conny Bauer, Joe McPhee, Paal Nilssen-Love and Brötzmann's son, Caspar Brötzmann.
His "Die Like a Dog Quartet" (with Toshinori Kondo, William Parker and drummer Hamid Drake) is loosely inspired by saxophonist Albert Ayler, a prime influence on Brötzmann's music. īrötzmann has released over fifty albums as a bandleader and has appeared on dozens more. In the 1980s, Brötzmann flirted with heavy metal and noise rock, recording with Last Exit and the band's bass guitarist and producer Bill Laswell. In 1981, Brötzmann made a radio broadcast with Frank Wright and Willem Breuker (saxes), Toshinori Kondo (trumpet), Hannes Bauer and Alan Tomlinson (trombones), Alexander von Schlippenbach (piano), Louis Moholo (drums), Harry Miller (bass). Bennink was a partner in Schwarzwaldfahrt, an album of duets recorded outside in the Black Forest in 1977 with Bennink drumming on trees and other objects found in the woods.
-20190701011629.jpg "peter brotzmann")
The logistics of touring with the ICP tentet or his octet resulted in Brötzmann reducing the group to a trio with Han Bennink and Fred Van Hove. Brötzmann was a member of Bennink's Instant Composers Pool, a collective of musicians who released their own records and that grew into a 10-piece orchestra.
#PETER BROTZMANN FREE#
Fuck De Boere (Dedicated to Johnny Dyani) is a live album of free sessions from these early years, containing two long improvisations, a 1968 recording of "Machine Gun" live (earlier than the studio version) and a longer jam from 1970. The second set of takes from these sessions, called More Nipples, is more raucous.
#PETER BROTZMANN PLUS#
The album Nipples was recorded in 1969 with many of the Machine Gun musicians, including drummer Han Bennink, pianist Fred Van Hove, and tenor saxophonist Evan Parker, plus British guitarist Derek Bailey. 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. Brötzmann studied painting in Wuppertal and was involved with the Fluxus movement but grew dissatisfied with art galleries and exhibitions.
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