In the mid 1960s, he played with American musicians such as Don Cherry and Steve Lacy and, following a sojourn in Paris with Don Cherry, returned to Germany for his unorthodox approach to be accepted by local musicians like Alex von Schlippenbach and Manfred Schoof. while experiencing freedoms from a different perspective via Stockhausen, Nam June Paik, David Tudor and John Cage. During 1962/63 Brötzmann, Kowald and various drummers played regularly - Mingus, Ornette Coleman, etc. Self-taught on clarinets, he soon moved to saxophones and began playing swing/bebop, before meeting Peter Kowald. In late 2005 he had a major retrospective exhibition jointly with Han Bennink - two separate buildings separated by an inter-connecting glass corridor - in Brötzmann's home town of Remscheid. Being very dissatisfied with the gallery/exhibition situation in art he found greater satisfaction playing with semi-professional musicians, though continued to paint (as well as retaining a level of control over his own records, particularly in record sleeve/CD booklet design). Peter Brötzmann's early interest was in painting and he attended the art academy in Wuppertal. "Born Remscheid, Germany on 6 March 1941 soprano, alto, tenor, baritone and bass saxophones, a-clarinet, e-flat clarinet bass clarinet, tarogato.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |