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Peter Brötzmann

The German free-jazz legend Peter Brötzmann will celebrate their 70th birthday until early March, but Julian Weber uses the opportunity ever to a portrait of tenor saxophonist (the daily newspaper ). Brötzmann music was always meant as a social and a musical statement, and the fact that he never deviated from his line, had brought him over the years, many young listeners. Brötzmann was originally want to be painter, then studied graphics and became assistant to the Fluxus artist Nam June Paik. In jazz, it had done to him at that time the music of Ornette Coleman, Don Cherry and Eric Dolphy. Although his music have always understood as a political statement, it was a part of the Left in the late 1960s as too elitist. When free jazz, he says, " is about thoughts and feelings move somewhere else" . In his Chicago Tentet he plays with a lot of young American musicians in a project to get along without public subsidies - a small miracle, as he says.

German free jazz legend Peter Brötzmann will only celebrate his 70th birthday in early March, but Julian Weber already takes the occasion for a portrait of the tenor saxophone player ( the daily newspaper ). Brötzmann's music was meant as a social and a musical statement, and his nonconformist attitude over the years has earned him many young listeners. Brötzmann originally wanted to become a painter, then a graphic artist, and then he got to know the fluxus artist Nam Jun Paik and became his assistant. In jazz he was drawn to the music of Ornette Coleman, Don Cherry and Eric Dolphy. Even though he understood his music as a political statement, the political left in the late 1960s saw his music as being too elitist. Free jazz, he says, means to move your thoughts and feelings somewhere else. In his Chicago Tentet he plays with much younger American musicians, a project without public funding, a miracle, as he calls it.



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