![]() ![]() And he collaborated not only with multiple generations of European improvisers but also with many Americans - notably in the experimental scene in Chicago, where he had a devoted disciple and champion in the multi-reedist Ken Vandermark.īrötzmann also recorded with titans like pianist Cecil Taylor, drummer Andrew Cyrille and guitarist Sonny Sharrock a 1987 duo summit with Sharrock saw release roughly a decade ago, under a typically unprintable title. While his main instruments were tenor and alto saxophones, Brötzmann also played soprano and baritone, along with various clarinets and the tárogató, a reed instrument heard in Hungarian folk music. ![]() Brötzmann self-released that album on his own label, Brö, signaling rugged independence from the start. He began his recording career in 1967 with a steely provocation: For Adolphe Sax, named after the inventor of the saxophone, and featuring a trio with German bassist Peter Kowald and Swedish drummer Sven-Åke Johansson. That pronouncement was made nearly 40 years ago remarkably, Brötzmann only kept expanding that legacy, keeping a working pace as prodigious as his style. "His medium is screaming energy music with a deliberately manic edge," wrote the American critic John Litweiler in his book The Freedom Principle: Jazz After 1958. Few figures in free jazz ever sustained a voice so unsparingly intense, over so long a tenure. His death was confirmed in statements from TROST Records and FMP-Publishing, which both released his music.īrötzmann's sound could be gruff and garrulous, or knifelike and squalling, always with a ferocious commitment to the moment at hand. Peter Brötzmann, a German saxophonist whose brash, tempestuous outpourings set an imposing standard for free improvisation, and helped define the terms for a postwar European avant-garde, died at his home in Wuppertal, Germany, on Thursday. Peter Brötzmann, photographer in Buffalo, N.Y., in 2010. ![]()
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