![]() While there's no lack of spontaneity in his music, Brötzmann's concern with motivic and melodic reiteration gives his playing a palpable sense of direction. Brötzmann's playing possesses a surety of tone and a melodic center characteristic of a focused musical conception. His catalog reads like a vanguard's who's-who in free jazz and experimental rock. While recordings of his various trios exist as early as 1964, it is the historic 1967 album For Adolphe Sax with bassist Peter Kowald and drummer Sven-Åke Johansson, on his own BRO label, as well as his octet date Machine Gun from 1968 and his membership in the Globe Unity Orchestra that established his bona fides on the scene. He is the rare Albert Ayler-influenced saxophonist capable of producing improvised lines of depth and sensitivity while informing them with enough raw power to make a lesser saxophonist wilt. ![]() He has played on literally hundreds of recordings - many of them live - from solo concerts to large ensemble dates and virtually every configuration in between. ![]() His rough tone and emotively ferocious method of attack on saxophones, clarinet, and taragato are among the most recognizable in jazz. Peter Brötzmann is one of the most prolific and enduring of the free jazz musicians to emerge from the European avant music scene of the 1960s.
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