Peter Brötzmann (born in Remscheid, Germany, on 6 March 1941; died 22 June … Read Full Bio ↴Peter Brötzmann (born in Remscheid, Germany, on 6 March 1941; died 22 June 2023) was a German free jazz saxophonist and clarinetist.
Among the most important European free jazz musicians, Brötzmann's rough, lyrical timbre remains easily recognisable on his many recordings.
He studied painting in Wuppertal and was involved with the Fluxus movement, but grew dissatisfied with art galleries and exhibitions. He has not abandoned his art training, however: Brötzmann has designed most of his own album covers. He first taught himself to play various clarinets, then saxophones; he is perhaps the only jazz musician to play the tárogató. Among his first musical partnerships was that with double bassist Peter Kowald.
For Adolphe Sax, Brötzmann's first recording, was released in 1967 and featured Kowald alongside drummer Sven-Åke Johansson.
1968 saw the release of Machine Gun, an octet recording often listed among the most notable free jazz albums. One critic wrote that Machine Gun offers "a heavy-impact sonic assault so aggressive it still knocks listeners back on their heels decades later."
The logistical difficulties of touring with an octet resulted in Brötzmann eventually slimming the group to a trio once again, the most notable and lasting one with Han Bennink and Fred Van Hove.
In the 1980s, Brötzmann flirted with jazz fusion and noise rock in the avant-garde supergroup Last Exit.
Brötzmann remained active, touring and recording regularly. Over his career he released over fifty albums as a bandleader, and appeared on dozens more, with groups such as his Die Like A Dog Quartet (with Toshinori Kondo, William Parker and Hamid Drake, being loosely inspired by saxophonist Albert Ayler, a prime influence on Brötzmann's music), Sonore (a reed trio with Ken Vandermark and Mats Gustafsson) and Full Blast (with bass guitarist Marino Pliakas and drummer Michael Wertmuller). He's also recorded or performed with many other musicians, including Cecil Taylor, Evan Parker, Han Bennink, Bill Laswell, William Parker, Willem Breuker, Ken Vandermark, Conny Bauer and Brötzmann's son, Caspar Brötzmann, a notable guitarist in his own right.
Among the most important European free jazz musicians, Brötzmann's rough, lyrical timbre remains easily recognisable on his many recordings.
He studied painting in Wuppertal and was involved with the Fluxus movement, but grew dissatisfied with art galleries and exhibitions. He has not abandoned his art training, however: Brötzmann has designed most of his own album covers. He first taught himself to play various clarinets, then saxophones; he is perhaps the only jazz musician to play the tárogató. Among his first musical partnerships was that with double bassist Peter Kowald.
For Adolphe Sax, Brötzmann's first recording, was released in 1967 and featured Kowald alongside drummer Sven-Åke Johansson.
1968 saw the release of Machine Gun, an octet recording often listed among the most notable free jazz albums. One critic wrote that Machine Gun offers "a heavy-impact sonic assault so aggressive it still knocks listeners back on their heels decades later."
The logistical difficulties of touring with an octet resulted in Brötzmann eventually slimming the group to a trio once again, the most notable and lasting one with Han Bennink and Fred Van Hove.
In the 1980s, Brötzmann flirted with jazz fusion and noise rock in the avant-garde supergroup Last Exit.
Brötzmann remained active, touring and recording regularly. Over his career he released over fifty albums as a bandleader, and appeared on dozens more, with groups such as his Die Like A Dog Quartet (with Toshinori Kondo, William Parker and Hamid Drake, being loosely inspired by saxophonist Albert Ayler, a prime influence on Brötzmann's music), Sonore (a reed trio with Ken Vandermark and Mats Gustafsson) and Full Blast (with bass guitarist Marino Pliakas and drummer Michael Wertmuller). He's also recorded or performed with many other musicians, including Cecil Taylor, Evan Parker, Han Bennink, Bill Laswell, William Parker, Willem Breuker, Ken Vandermark, Conny Bauer and Brötzmann's son, Caspar Brötzmann, a notable guitarist in his own right.
No. 4
Peter Brötzmann Lyrics
We have lyrics for 'No. 4' by these artists:
B.E.E.K. I'm with the crew We don't fight without tools Took trips to…
Bow Are you bummed out? Are you feeling blue? Well, for that all…
Bows Are you bummed out? Are you feeling blue? Well, for that all…
I-Level Amicus meus osculi me tradidit signo: quem osculatus fuero, …
No. 4 (Aye, aye, aye, aye) I don't care if you say you…
st. mary's Ich bin der Welt abhanden gekommen, Mit der ich sonst viele…
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Red Bull Music Academy
Read more on Peter Brötzmann here...
► https://www.redbullmusicacademy.com/lectures/peter-brotzmann
JONATHAN SUTCLIFFE
https://youtu.be/FcejGl1s8uU
llamapie24
Saw Peter live earlier this year and got to hug him! Absolutely legendary musician and top bloke. Bless RBMA for this.
Writing on Games
Absolute hero of mine. Whenever I've seen him live it's been a life-altering experience. Love this interview.
Stefan Thorpenberg
Around 44 minutes: Peter Brötzmann says that "there are many today from the Conservatories who can play better than me". Hm... when listening to his saxophone in Globe Unity Orchestra that is not exactly true. He had the most powerful expression of all.
larry johnson
he might be right about them being "better" I the technical sense but I think what he really means by that is that even though there are a lot better technical players than him, people are losing their intensity and creativity which was always much more integral to Brötzmann's work than talent
CGM CGM
To play better is not necessarily to play with style or passion. Sometimes it is not the most technically proficient that have the most fans but those that put their own mark on the art. A certain unique humanity.
girl in a gale
So many players nowadays are getting too good, but not learning to express the music as experiences.
Ben St
heard him 3-4 times on a stage. Always full of surprises, but at the same time - a stubborn character. Love him. True inspiration!
Oolong Oolong
Great to hear Peter Brötzmann. I've admired his work for many years. I hope there are at least a few in that young audience who will be inspired by his words and music.