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Evan Parker could play ‘Giant Steps,’ which was very impressive. The assembled group’s lack of familiarity with one another necessitated the approach. “It’s a Charles Ives thing: solo, solo background, solo.” It’s a very conventional, simply structured piece,” said the saxophonist, who has a handful of August tour dates set in California with avant-guitarist Keiji Haino. “I got some paper and wrote and drew some things. Despite the album’s iconoclastic reputation, Brötzmann conceived a relatively simple framework for it. Machine Gun, its name derived in part from Don Cherry’s description of Brötzmann’s distinctive sound, found a new start by returning to the very roots of jazz.
In Germany, we all grew up with the same thing: ‘Never again.’ But in the government, all the same old Nazis were still there. But we wanted to change things we needed a new start. I never thought music was a healing force of the universe. But in the bandleader’s mind, “There is no contradiction between creation and destruction. It’s easy to explain the album’s singular energy as Brötzmann and company harness the era’s ambition of plotting a new path forward. Brötzmann also recruited rising British reedist Evan Parker. Alongside the drummer and bassist from his original trio, he brought together players already firmly established within the German and Dutch avant-garde, including Han Bennink and Willem Breuker, of the Instant Composers Pool. That was something for our ears,” Brötzmann said.Īfter gigging for years, two landmark performances with his trio at the Frankfurt Jazz Festival landed Brötzmann the opportunity to put a bigger band together. But so were Charles Mingus and Eric Dolphy. From the outset, as captured on his 1967 debut For Adolphe Sax, Brötzmann’s violent and experimental approach was fully on display.
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“All we talked about was how to get rid of the old structures.”Ī perennial jazz fan, the stage provided Brötzmann with a more suitable home for his artistic vision than a pristine canvas. “, I was involved with various creative people-playwrights, actors, dancers and so forth,” he recalled. The emotional and political complexity it was born from still resonates today.īefore he entered the world of music, Brötzmann was studying to be a painter in Western Germany and was associated with Fluxus, a radical art movement influenced by John Cage and informed by an anti-commercial sentiment. The marathon, lung-bursting howl of Peter Brötzmann’s Machine Gun, which the saxophonist self-released on his BRÖ imprint 50 years ago, captured the anxiety of a generation grappling with the Vietnam War and civil unrest. Try as he might, Waits barely could be heard above Brotzmann's eruptions.Bassist Buschi Niebergall (left), saxophonist Peter Brötzmann and saxophonist Willem Breuker, shown here in 1970, perform on Machine Gun, which hits its 50th anniversary this year. A duet show he played with drummer Nasheet Waits at the Chicago Cultural Center in October, 2005, reminded listeners that it cannot be easy to share a stage with him. Yet not all of Brotzmann's local appearances have been comparably successful. To hear Brotzmann's acidic, penetrating tone answered by Anderson's low, rumbling, crushed-velvet utterances was to understand anew the distinctiveness of Chicago's experimental scene. One of the most beguiling Brotzmann performances of the past decade, however, occurred when he shared the stage with a Chicago saxophonist of comparable stature, Fred Anderson, again at the Empty Bottle, in April, 2001. On that occasion, the music-making changed course quickly and unpredictably, shifting from massive reed choirs to austere percussion solos, from sublimely lyrical bass duets to pointillistic saxophone statements from Brotzmann.
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At times, his music-making can be majestic, as it was when he fronted the Chicago Tentet Plus One at the Empty Bottle in May, 1999 or dramatically mercurial, as his Chicago Tentet Plus Two show proved at the Old Town School of Folk Music in July, 2000. Yet there's much more to this music than just high decibels and higher energy. Listen closely to Brotzmann, and you're hearing practically a summation of major developments in avant-garde jazz of the past four decades.
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Regardless of the musical setting, Brotzmann long has held an exalted position among European free improvisers, since the mid-1960s building on the post-bebop, "free jazz" breakthroughs of American models such as Ornette Coleman, Albert Ayler, Charles Mingus, Eric Dolphy and, of course, late-period John Coltrane. Though an opportunity to hear Brotzmann is worth grabbing, the chance to catch him in a less familiar context is not to be missed. This time, he'll share the stage with bassist Marino Pliakas and drummer Michael Wertmueller, in his first Empty Bottle show in nearly two years.
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