In 1990 FMP issued the album on CD, adding two previously unreleased alternate takes. In 2007, Atavistic Records reissued the album again as The Complete Machine Gun Sessions, adding the only live recording of the title piece (previously issued on. Peter Brtzmann Octet Machine Gun.
Finally released by Atavistic, Fuck de Boere includes two live cuts from that seminal early group at the Frankfurt Jazz Festival. Opening with "Machine Gun," recorded in March of 1968, Peter Brotzmann and his group blast away at what was to become the landmark recording a few months later in the studio. At this time, the group included an additional saxophone player, Gerd Dudek. This version finds itself a bit more playful than Machine Gun's version, not quite as menacing or brooding the structure is the same, here favoring the longer take, but the interplay and overlap between the instruments is not as urgent. What it lacks in attack, however, it makes up for in improvisation, enthusiasm, and sheer genius of the composition.
Artist: Peter BrotzmannTitle: Machine GunProduct Type: VINYL LPVinyl LP pressing. This was recorded live in 1970 and included the use of four trombonists and the perfectly experimental Derek Bailey on electric guitar. Complete with shouting and animal calls, this number ranges from ambient-like textures to bombastic, split-second punches and involves every possible combination of instrumentation. Every player is on board this amazing journey of a piece, from Fred van Hove's organ-pounding to Han Bennick's cathartic, relentless percussive impulses. "Fuck de Boere" winds to a swirling, sea-sickening ending among triumphant squelches and scattered helpless melodies, only to succumb to a final yelp of Brotzmann's horn. Just under 55 minutes for the entire album, and it's certainly nothing short of stunning.
Hine Gun Peter Brotzmann Free Jazz Album
With over 100 releases to his name, including some with jazz supergroup Last Exit, Brötzmann’s creative passions have not diminished. His octet album Machine Gun remains a seminal free jazz album of the late ’60s, a genre-expanding work that aurally articulated the anxieties surrounding the Vietnam War and his country’s uncertain future. Primarily a saxophonist and clarinetist, Brötzmann has worked with experimental greats such as Dutch drummer Han Bennink, British fellow saxophone powerhouse Evan Parker and Japanese sound artist Keiji Haino, exploring an avant-garde, largely improvisational style of free jazz with his signature rough timbre. By Jost Gebers by Peter Stubley by Discogs by AllMusic.Peter Brötzmann is a revered free jazz musician from West Germany whose over 50-year career has taken him from the interdisciplinary radicalism of the late 20th-century Fluxus art movement to extensive collaborative and solo recording and performance. NEWS DATES / TOURS DISCOGRAPHIES ARTWORK / DESIGN LINKS IMPRINT / CONTACT. Machine Gun was an octet recording often listed among the most notable free jazz albums.
He‘s always designedIn his lecture at Red Bull Music Academy 2018 in Berlin, Brötzmann talked about learning from the ’60s avant-garde, why he doesn't believe in teaching jazz and how improvisation comes down to fitting or fighting.Please give a very warm welcome to Peter Brötzmann. He worked alongside Joseph Beuys, apprenticed with Nam June Paik, and worked in advertising (like Andy Warhol) before self-financing his earliest albums, For Adolphe Sax and Machine Gun. Peter Br&246 tzmann intended to be a visual artist before getting sidetracked into music. Recorded with a whiff of revolution in the air back in May '68, this landmark Brotzmann LP. Recorded May 1968 at 'Lila Eule', Bremen. One of the most important albums of European free jazz, finally in the Cien Fuegos series.
Hine Gun Peter Brotzmann Trial Town At
But you were born in Remscheid, to mention another one.Yeah, I was born in Remscheid, a middle-sized industrial town at the border of the Ruhr Area, and in 1941 it was I think. We might get specific about it, about Dusseldorf versus Cologne versus Wuppertal, but they’re literally 20 minutes away from each other. That was recorded in Cologne, and I figured it’s important to explain that there will be many cities that we’re going to mention in this talk and they’re all about 20 minutes away from each other, so just ignore the city names, it’s one big region.
But he had to leave school, and I grabbed his clarinet and started to play with my few records I had at that time. There was a very good clarinet player.I forgot his name, I don’t know, but he was very good. We had at the high school, we had a swing/Dixieland band. My goal in the very early years was to be a painter, and I did that with quite some intensity, but music, and especially jazz music, was always on my side.
I studied at the Werkkunstschule in Wuppertal, which is a kind of following thing of the Bauhaus schools for example. But at that time, still, my goal was being a painter. We need a saxophone in the band.”So I organized myself a tenor saxophone and started to play. So I started to tour with them, and then, of course, one day they said, “OK Brötzmann, you need a saxophone. And so I joined them from time to time with my clarinet, and they didn’t send me home. But the whole shit started in Remscheid because we had a swing/bebop band there already with some advanced students from the Folkwang school in Essen.
At the same time, early ’60s, Stockhausen opened his electronic studio in Cologne, he was running together with Mary Bauermeister a small theater in Cologne, and he invited people like Cage and Tudor, for example. Another important group of artists were the Fluxus group with George Maciunas as the leader of the administration and Emmett Williams and a lot of others.That was, looking back now, these 60 years, very important influence and influences just before I met some great guys from the jazz world. Via him, I learned to know Joseph Beuys, who started his activities in these years, in mainly Düsseldorf at the Akademie. I just had finished my studies at the art school, and there was quite an avant-garde gallery in Wuppertal called Parnass, and this guy was really very active, inviting artists from all over the world, and one of them was very young Nam June Paik from Korea, and I was lucky to assist him for this exhibition and some following stuff in Holland, Amsterdam and so on.And he, I think, was the first really important person for me in my little art life. Yeah, that is a photo from a Nam June Paik exhibition we did in ’61 in Wuppertal.’63 is that one? Yeah, OK. Could we please look at picture number one.That’s actually you on the bottom left, right?Yeah, it must be.
He was living in Cologne, and he came out of, let’s say, the Cage school in a way. Nam June Paik, at that time, he was about 30 or something like that. So I was sent to the slaughter house in Wuppertal and organized the head of this bull, and we nailed it over the door, and neighbors complained a couple of days later so we had to get rid of that again. The picture we saw earlier has a cut-off head of an actual ox in the entrance of an exhibition that I think was referred to as the first media art exhibition in the world.I mean he explained it like that, that if they have a big festivity in Korea, they put over the door the head of the animal which has been eaten for the later dinner.
All Sonny Rollins, all Art Blakey, it was all over the place.So we got a lot of very different information, and the good thing on my side was that I got the other side of it. I’ve heard all Coltrane Quartet, all Coltrane with Eric Dolphy, all Coltrane with Adderley and whatever was there. I’ve heard all of Miles Davis’s bands. The bands were touring in Europe. At the same time, you could hear in Germany, a lot of jazz music. I was lucky to be a part of that very early development of his artistic life, and the good thing was that we stayed good friends until he died.
He always said, Brötzmann, do your shit, do your thing.” I mean the press material I got out of these years, they all said, “That’s no music anymore. I still have some letters from Beuys at home. But, of course, it encouraged me. I didn’t know any influence with that.
On the other hand, our generation of the after-war guys, we wanted one thing. And I started to work with some of them, which was, for me, as a very young and foolish guy, very important, to establish my own things.On which level did you discuss politics with these people, because you just mentioned three American artists, Don Cherry and.In general, the ’60s where quite violent times, and if you think back, what happened in the ’60s in the States, the riots in Washington DC, in Detroit, wherever in the South, people still were lynched in the South and disappeared, and Martin Luther King was killed, J.F. Or Steve Lacy who was living in Paris, and Carla Bley who is a piano player. I just didn’t have to care, I just developed my own stuff.Then, on the other hand, I got very early in touch with a lot of American musicians like Cecil Taylor in the middle of the ’60s, or Don Cherry who was living in these years in the south of Sweden but working a lot in German radio stations.
I, for example, had my first exhibitions I had in Holland, the first international music contacts were to some Dutch guys like Misha Mengelberg or Han Bennink or Willem Breuker. My first connection, of course, it just was crossing the border, in two hours being in Amsterdam, and Holland was the first country I experienced a fresher air and a freer life. We didn’t get any answers from our parents, they didn’t want to talk about it, so I, or we, in general had to find answers for our questions somewhere else. I mean the whole Adenauer government was still full of old Nazis.Adenauer was, just to explain, he was the first chancellor of Germany after the war from, I think, ’49 to ’63.Yes.
Holland was a very important place for me.
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