#peterbrotzmann — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #peterbrotzmann, aggregated by home.social.
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C'est Dimanche Matin ! no.78
Dimanche 14 septembre 2025 à 11h
@epicentre #Jarnages @en_creuseSéance d'écoute autour de "Machine Gun" du Peter Brötzmann Octet (1968)
Gratuit
#PeterBrötzmann #1968 #improvisedmusic #vinylrecord #musiqueimprovisee #freejazz #disquevinyle
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C'est Dimanche Matin ! no.78
Dimanche 14 septembre 2025 à 11h
@epicentre #Jarnages @en_creuseSéance d'écoute autour de "Machine Gun" du Peter Brötzmann Octet (1968)
Gratuit
#PeterBrötzmann #1968 #improvisedmusic #vinylrecord #musiqueimprovisee #freejazz #disquevinyle
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C'est Dimanche Matin ! no.78
Dimanche 14 septembre 2025 à 11h
@epicentre #Jarnages @en_creuseSéance d'écoute autour de "Machine Gun" du Peter Brötzmann Octet (1968)
Gratuit
#PeterBrötzmann #1968 #improvisedmusic #vinylrecord #musiqueimprovisee #freejazz #disquevinyle
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C'est Dimanche Matin ! no.78
Dimanche 14 septembre 2025 à 11h
@epicentre #Jarnages @en_creuseSéance d'écoute autour de "Machine Gun" du Peter Brötzmann Octet (1968)
Gratuit
#PeterBrötzmann #1968 #improvisedmusic #vinylrecord #musiqueimprovisee #freejazz #disquevinyle
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C'est Dimanche Matin ! no.78
Dimanche 14 septembre 2025 à 11h
@epicentre #Jarnages @en_creuseSéance d'écoute autour de "Machine Gun" du Peter Brötzmann Octet (1968)
Gratuit
#PeterBrötzmann #1968 #improvisedmusic #vinylrecord #musiqueimprovisee #freejazz #disquevinyle
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Extending a look at some reusable solutions in #musicGames.
This one is extremely rule-light, and usually to find within #experimentalMusic. Examples include #Signs and #Images by #PeterBrotzmann, or #Etudes by #SharonGal.
There is even a relatively famous adopted child of this category: #ObliqueStrategies, a card deck which was not designed or intended for live musical #performance, but many times have been used like that.
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Extending a look at some reusable solutions in #musicGames.
This one is extremely rule-light, and usually to find within #experimentalMusic. Examples include #Signs and #Images by #PeterBrotzmann, or #Etudes by #SharonGal.
There is even a relatively famous adopted child of this category: #ObliqueStrategies, a card deck which was not designed or intended for live musical #performance, but many times have been used like that.
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Extending a look at some reusable solutions in #musicGames.
This one is extremely rule-light, and usually to find within #experimentalMusic. Examples include #Signs and #Images by #PeterBrotzmann, or #Etudes by #SharonGal.
There is even a relatively famous adopted child of this category: #ObliqueStrategies, a card deck which was not designed or intended for live musical #performance, but many times have been used like that.
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Extending a look at some reusable solutions in #musicGames.
This one is extremely rule-light, and usually to find within #experimentalMusic. Examples include #Signs and #Images by #PeterBrotzmann, or #Etudes by #SharonGal.
There is even a relatively famous adopted child of this category: #ObliqueStrategies, a card deck which was not designed or intended for live musical #performance, but many times have been used like that.
-
Extending a look at some reusable solutions in #musicGames.
This one is extremely rule-light, and usually to find within #experimentalMusic. Examples include #Signs and #Images by #PeterBrotzmann, or #Etudes by #SharonGal.
There is even a relatively famous adopted child of this category: #ObliqueStrategies, a card deck which was not designed or intended for live musical #performance, but many times have been used like that.
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Peter Brötzmann @ Summer Bummer Festival - De Studio - Antwerp, Belgium - 27 Aug 2022
#peterbrötzmann #saxophonist #jazz #freejazz #music
#summerbummerfestival #antwerp
#photography #blackandwhite #concertphotography -
#Upcoming Originally released in 1977, “Schwarzwaldfahrt” is a series of primal improvisations with different settings in nature, recorded in the open air of the Black Forest by longtime collaborators #PeterBrötzmann and #HanBennink. Available once again via #DestinationOut and #FMPRecords, February 7th. https://destination-out.bandcamp.com/album/schwarzwaldfahrt
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#Upcoming Originally released in 1977, “Schwarzwaldfahrt” is a series of primal improvisations with different settings in nature, recorded in the open air of the Black Forest by longtime collaborators #PeterBrötzmann and #HanBennink. Available once again via #DestinationOut and #FMPRecords, February 7th. https://destination-out.bandcamp.com/album/schwarzwaldfahrt
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#Upcoming Originally released in 1977, “Schwarzwaldfahrt” is a series of primal improvisations with different settings in nature, recorded in the open air of the Black Forest by longtime collaborators #PeterBrötzmann and #HanBennink. Available once again via #DestinationOut and #FMPRecords, February 7th. https://destination-out.bandcamp.com/album/schwarzwaldfahrt
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#Upcoming Originally released in 1977, “Schwarzwaldfahrt” is a series of primal improvisations with different settings in nature, recorded in the open air of the Black Forest by longtime collaborators #PeterBrötzmann and #HanBennink. Available once again via #DestinationOut and #FMPRecords, February 7th. https://destination-out.bandcamp.com/album/schwarzwaldfahrt
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#Upcoming Originally released in 1977, “Schwarzwaldfahrt” is a series of primal improvisations with different settings in nature, recorded in the open air of the Black Forest by longtime collaborators #PeterBrötzmann and #HanBennink. Available once again via #DestinationOut and #FMPRecords, February 7th. https://destination-out.bandcamp.com/album/schwarzwaldfahrt
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#NowPlaying In case you thought everything #PeterBrötzmann did was totally confrontational, “Berlin Djungle”, a composition for FIVE clarinetists was recorded live in 1984 with an unbelievable lineup: #ToshinoriKondo, #JohnZorn, #WilliamParker, #TonyOxley, and many others. https://destination-out.bandcamp.com/album/berlin-djungle
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Ingurgitating Oblivion – Ontology of Nought Review
By Dear Hollow
I’ve spent over twenty hours with Ontology of Nought, trying to learn the German Ingurgitating Oblivion’s method in the madness. I’m still lost. I’m still stumbling blindly through the dead ends, the hairpin turns, the ominous spires, and the high walls that enclose its labyrinth, attempting to discover its light but knowing that it will only be by chance if I do. I cannot find a pattern, a clue, or an architectural basis anywhere. It’s blind memorization and utter void of context, and I have never been so baffled and intrigued by something calling itself death metal.
The lack of reference makes Ontology of Nought such a difficult album to score. Laced dissonance, choppy rhythms, blackened death intensity, and technical arpeggios, tied together with spoken word, a haunting atmosphere, and vicious noise, avant-garde veterans Ingurgitating Oblivion1 somehow avoids sounding like the trademarks of any of the bands who use them. Their first album in seven years consists of five tracks spanning nearly an hour and fifteen minutes, the eighteen-minute closer divided into three movements. It shifts patiently, organically, but with the intention and direction of the blind leading the blind. Ingurgitating Oblivion constructs Ontology of Nought not as a collection of highlights and riffs, but as a sonic labyrinth composed of mile-high walls, experimental twists, jagged spires, and brutal nihilism.
Disjointedly, Ingurgitating Oblivion recalls acts like Serocs, Coma Cluster Void, and Flourishing, a fusion of dissonant, blackened, and avant-garde death metal, sprawled together with ambiance and murky songwriting – however, Ontology of Nought is a free jazz expedition a la Sun Ra or Peter Brötzmann at heart. Opener “Uncreation’s Whirring Loom You Ply with Crippled Fingers” sets the tone with a haunting ambiance, interspersed by nearly mathcore-inspired marbled rhythms and manic drumming and featuring wild jazzy solos. The suffocating sprawl of noise and dissonance gives “To Weave the Tapestry of Nought” a dangerous grin atop its cantankerous rhythms, and the crescendos of lush ambiance, cumbersome keys, and clean vocals are downright haunting and strangely infectious. The women’s choir of “Lest I Should Perish with Travel, Effete and Weary, as My Knees Refuse to Bear Me Thither” shines through this tapestry of noise, interspersed by blackened death bomb explosions. Closer “The Barren Earth Oozes Blood, and Shakes and Moans, To Drink Her Children’s Gore” is a tour-de-force of spidery keys, unhinged drumming and sick riffs, epic solos, crawling leads, scathing noise, and crystalline ambiance, an eighteen-minute behemoth with which Ingurgitating Oblivion will test your patience and your sanity in some of the best ways, the patience of prior tracks stricken to the bone.
It’s easy to draw comparisons to Midnight Odyssey or Swallow the Sun in Ontology of Nought’s challenging runtime, but at least those atmoblack and melodeath/doom legends have shreds of consistency. Ingurgitating Oblivion shifts dramatically across each song’s ten-to-nineteen-minute track-lengths in ways that rob distinctiveness in favor of an ever-changing amorphousness, leaving memorability by the wayside. Most damning is centerpiece “The Blossoms of Your Tomorrow Shall Unfold in My Heart,” which lacks the oomph or highlight to stand out amid the crushing sea of experimentalisms and jarring shifts, compared to the haunting “To Weave…” and the actualized clarity of “Lest I Should Perish…” It’s ultimately small potatoes, however, because despite the myriad spins, I still cannot seem to wrap my head around Ontology’s shifting sands of jarring tonal and musical changes. This makes Ingurgitating Oblivion almost entirely inaccessible, requiring an obscene amount of concentration – in an inherently difficult style – for an asinine amount of time. In the spirit of free jazz, Ontology of Nought feels nearly entirely improvised, so it’s difficult to tell if its insanity is a puzzle worth solving or an empty pretentious pursuit.
When I started listening to Ingurgitating Oblivion, I was reading “The Library of Babel” by Jorge Luis Borges – and the comparisons fit. While the short story about infinite numbers of identically structured hexagons and books clashes with the insane apparent randomness coursing through Ontology of Nought, the lesson remains the same: the choice of purpose in the minute or despair in the infinite. How each listener approaches this album will differ, as the experimentalism is maddening and the runtime is extravagant. The sounds contained herein are unlike any others, with intensity, experimentalism, and organicity playing an infinite sonic game of chess worthy of both shudder and intrigue. Listen to it once – replay mileage will vary.
Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: ingurgitatingoblivion1.bandcamp.com | ingurgitating-oblivion.de | facebook.com/IngurgitatingOblivionOfficial
Releases Worldwide: September 27th, 2024#2024 #35 #AtmosphericDeathMetal #AvantGardeDeathMetal #AvantGardeMetal #BlackenedDeathMetal #ComaClusterVoid #DeathMetal #DefeatedSanity #DissonantDeathMetal #Flourishing #Fountainhead #FreeJazz #GermanMetal #IngurgitatingOblivion #Jazz #MentallyDefiled #MidnightOdyssey #OntologyOfNought #PeterBrötzmann #Review #Reviews #Sep24 #Serocs #SunRa #SwallowTheSun #TechnicalDeathMetal #WillowtipRecords
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Ingurgitating Oblivion – Ontology of Nought Review
By Dear Hollow
I’ve spent over twenty hours with Ontology of Nought, trying to learn the German Ingurgitating Oblivion’s method in the madness. I’m still lost. I’m still stumbling blindly through the dead ends, the hairpin turns, the ominous spires, and the high walls that enclose its labyrinth, attempting to discover its light but knowing that it will only be by chance if I do. I cannot find a pattern, a clue, or an architectural basis anywhere. It’s blind memorization and utter void of context, and I have never been so baffled and intrigued by something calling itself death metal.
The lack of reference makes Ontology of Nought such a difficult album to score. Laced dissonance, choppy rhythms, blackened death intensity, and technical arpeggios, tied together with spoken word, a haunting atmosphere, and vicious noise, avant-garde veterans Ingurgitating Oblivion1 somehow avoids sounding like the trademarks of any of the bands who use them. Their first album in seven years consists of five tracks spanning nearly an hour and fifteen minutes, the eighteen-minute closer divided into three movements. It shifts patiently, organically, but with the intention and direction of the blind leading the blind. Ingurgitating Oblivion constructs Ontology of Nought not as a collection of highlights and riffs, but as a sonic labyrinth composed of mile-high walls, experimental twists, jagged spires, and brutal nihilism.
Disjointedly, Ingurgitating Oblivion recalls acts like Serocs, Coma Cluster Void, and Flourishing, a fusion of dissonant, blackened, and avant-garde death metal, sprawled together with ambiance and murky songwriting – however, Ontology of Nought is a free jazz expedition a la Sun Ra or Peter Brötzmann at heart. Opener “Uncreation’s Whirring Loom You Ply with Crippled Fingers” sets the tone with a haunting ambiance, interspersed by nearly mathcore-inspired marbled rhythms and manic drumming and featuring wild jazzy solos. The suffocating sprawl of noise and dissonance gives “To Weave the Tapestry of Nought” a dangerous grin atop its cantankerous rhythms, and the crescendos of lush ambiance, cumbersome keys, and clean vocals are downright haunting and strangely infectious. The women’s choir of “Lest I Should Perish with Travel, Effete and Weary, as My Knees Refuse to Bear Me Thither” shines through this tapestry of noise, interspersed by blackened death bomb explosions. Closer “The Barren Earth Oozes Blood, and Shakes and Moans, To Drink Her Children’s Gore” is a tour-de-force of spidery keys, unhinged drumming and sick riffs, epic solos, crawling leads, scathing noise, and crystalline ambiance, an eighteen-minute behemoth with which Ingurgitating Oblivion will test your patience and your sanity in some of the best ways, the patience of prior tracks stricken to the bone.
It’s easy to draw comparisons to Midnight Odyssey or Swallow the Sun in Ontology of Nought’s challenging runtime, but at least those atmoblack and melodeath/doom legends have shreds of consistency. Ingurgitating Oblivion shifts dramatically across each song’s ten-to-nineteen-minute track-lengths in ways that rob distinctiveness in favor of an ever-changing amorphousness, leaving memorability by the wayside. Most damning is centerpiece “The Blossoms of Your Tomorrow Shall Unfold in My Heart,” which lacks the oomph or highlight to stand out amid the crushing sea of experimentalisms and jarring shifts, compared to the haunting “To Weave…” and the actualized clarity of “Lest I Should Perish…” It’s ultimately small potatoes, however, because despite the myriad spins, I still cannot seem to wrap my head around Ontology’s shifting sands of jarring tonal and musical changes. This makes Ingurgitating Oblivion almost entirely inaccessible, requiring an obscene amount of concentration – in an inherently difficult style – for an asinine amount of time. In the spirit of free jazz, Ontology of Nought feels nearly entirely improvised, so it’s difficult to tell if its insanity is a puzzle worth solving or an empty pretentious pursuit.
When I started listening to Ingurgitating Oblivion, I was reading “The Library of Babel” by Jorge Luis Borges – and the comparisons fit. While the short story about infinite numbers of identically structured hexagons and books clashes with the insane apparent randomness coursing through Ontology of Nought, the lesson remains the same: the choice of purpose in the minute or despair in the infinite. How each listener approaches this album will differ, as the experimentalism is maddening and the runtime is extravagant. The sounds contained herein are unlike any others, with intensity, experimentalism, and organicity playing an infinite sonic game of chess worthy of both shudder and intrigue. Listen to it once – replay mileage will vary.
Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: ingurgitatingoblivion1.bandcamp.com | ingurgitating-oblivion.de | facebook.com/IngurgitatingOblivionOfficial
Releases Worldwide: September 27th, 2024#2024 #35 #AtmosphericDeathMetal #AvantGardeDeathMetal #AvantGardeMetal #BlackenedDeathMetal #ComaClusterVoid #DeathMetal #DefeatedSanity #DissonantDeathMetal #Flourishing #Fountainhead #FreeJazz #GermanMetal #IngurgitatingOblivion #Jazz #MentallyDefiled #MidnightOdyssey #OntologyOfNought #PeterBrötzmann #Review #Reviews #Sep24 #Serocs #SunRa #SwallowTheSun #TechnicalDeathMetal #WillowtipRecords
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Ingurgitating Oblivion – Ontology of Nought Review
By Dear Hollow
I’ve spent over twenty hours with Ontology of Nought, trying to learn the German Ingurgitating Oblivion’s method in the madness. I’m still lost. I’m still stumbling blindly through the dead ends, the hairpin turns, the ominous spires, and the high walls that enclose its labyrinth, attempting to discover its light but knowing that it will only be by chance if I do. I cannot find a pattern, a clue, or an architectural basis anywhere. It’s blind memorization and utter void of context, and I have never been so baffled and intrigued by something calling itself death metal.
The lack of reference makes Ontology of Nought such a difficult album to score. Laced dissonance, choppy rhythms, blackened death intensity, and technical arpeggios, tied together with spoken word, a haunting atmosphere, and vicious noise, avant-garde veterans Ingurgitating Oblivion1 somehow avoids sounding like the trademarks of any of the bands who use them. Their first album in seven years consists of five tracks spanning nearly an hour and fifteen minutes, the eighteen-minute closer divided into three movements. It shifts patiently, organically, but with the intention and direction of the blind leading the blind. Ingurgitating Oblivion constructs Ontology of Nought not as a collection of highlights and riffs, but as a sonic labyrinth composed of mile-high walls, experimental twists, jagged spires, and brutal nihilism.
Disjointedly, Ingurgitating Oblivion recalls acts like Serocs, Coma Cluster Void, and Flourishing, a fusion of dissonant, blackened, and avant-garde death metal, sprawled together with ambiance and murky songwriting – however, Ontology of Nought is a free jazz expedition a la Sun Ra or Peter Brötzmann at heart. Opener “Uncreation’s Whirring Loom You Ply with Crippled Fingers” sets the tone with a haunting ambiance, interspersed by nearly mathcore-inspired marbled rhythms and manic drumming and featuring wild jazzy solos. The suffocating sprawl of noise and dissonance gives “To Weave the Tapestry of Nought” a dangerous grin atop its cantankerous rhythms, and the crescendos of lush ambiance, cumbersome keys, and clean vocals are downright haunting and strangely infectious. The women’s choir of “Lest I Should Perish with Travel, Effete and Weary, as My Knees Refuse to Bear Me Thither” shines through this tapestry of noise, interspersed by blackened death bomb explosions. Closer “The Barren Earth Oozes Blood, and Shakes and Moans, To Drink Her Children’s Gore” is a tour-de-force of spidery keys, unhinged drumming and sick riffs, epic solos, crawling leads, scathing noise, and crystalline ambiance, an eighteen-minute behemoth with which Ingurgitating Oblivion will test your patience and your sanity in some of the best ways, the patience of prior tracks stricken to the bone.
It’s easy to draw comparisons to Midnight Odyssey or Swallow the Sun in Ontology of Nought’s challenging runtime, but at least those atmoblack and melodeath/doom legends have shreds of consistency. Ingurgitating Oblivion shifts dramatically across each song’s ten-to-nineteen-minute track-lengths in ways that rob distinctiveness in favor of an ever-changing amorphousness, leaving memorability by the wayside. Most damning is centerpiece “The Blossoms of Your Tomorrow Shall Unfold in My Heart,” which lacks the oomph or highlight to stand out amid the crushing sea of experimentalisms and jarring shifts, compared to the haunting “To Weave…” and the actualized clarity of “Lest I Should Perish…” It’s ultimately small potatoes, however, because despite the myriad spins, I still cannot seem to wrap my head around Ontology’s shifting sands of jarring tonal and musical changes. This makes Ingurgitating Oblivion almost entirely inaccessible, requiring an obscene amount of concentration – in an inherently difficult style – for an asinine amount of time. In the spirit of free jazz, Ontology of Nought feels nearly entirely improvised, so it’s difficult to tell if its insanity is a puzzle worth solving or an empty pretentious pursuit.
When I started listening to Ingurgitating Oblivion, I was reading “The Library of Babel” by Jorge Luis Borges – and the comparisons fit. While the short story about infinite numbers of identically structured hexagons and books clashes with the insane apparent randomness coursing through Ontology of Nought, the lesson remains the same: the choice of purpose in the minute or despair in the infinite. How each listener approaches this album will differ, as the experimentalism is maddening and the runtime is extravagant. The sounds contained herein are unlike any others, with intensity, experimentalism, and organicity playing an infinite sonic game of chess worthy of both shudder and intrigue. Listen to it once – replay mileage will vary.
Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: ingurgitatingoblivion1.bandcamp.com | ingurgitating-oblivion.de | facebook.com/IngurgitatingOblivionOfficial
Releases Worldwide: September 27th, 2024#2024 #35 #AtmosphericDeathMetal #AvantGardeDeathMetal #AvantGardeMetal #BlackenedDeathMetal #ComaClusterVoid #DeathMetal #DefeatedSanity #DissonantDeathMetal #Flourishing #Fountainhead #FreeJazz #GermanMetal #IngurgitatingOblivion #Jazz #MentallyDefiled #MidnightOdyssey #OntologyOfNought #PeterBrötzmann #Review #Reviews #Sep24 #Serocs #SunRa #SwallowTheSun #TechnicalDeathMetal #WillowtipRecords
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#NowPlaying #TheSundayStarter Playing duets, #SonnySherrock and #PeterBrötzmann live at the Elbow Room, Chicago, in 1989. That is all. https://okkadisk.bandcamp.com/album/fragments
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#NowPlaying: #LastExit - Last Exit (1986) Some crazy, noisy #jazz from #BillLaswell, #PeterBrötzmann, #RonaldShannonJackson, and #SonnySharrock https://billlaswell.bandcamp.com/album/last-exit-2
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🎶 🎷 "BRÖtz" - "Bei Festivals mit experimenteller Musik gibt es Archaik und Folk auf Streich- und Saiteninstrumenten aus aller Welt zu hören" (taz) u.a. beim Wuppertaler „Festival für freie Musik“ 🎻 🎺
" 'Neues und Ungewohntes, bisweilen auch Verstörendes' verspricht das #BRÖtz-Festival. Dass es Gründe dafür gibt, auch außermusikalische, weiß, wer noch Nachrichten liest."
#Wuppertal #Brötzmann #PeterBrötzmann #Jazz #FreeJazz #Festival #Saxofon @tazgetroete @wuppertal
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🎶 🎷 "BRÖtz" - "Bei Festivals mit experimenteller Musik gibt es Archaik und Folk auf Streich- und Saiteninstrumenten aus aller Welt zu hören" (taz) u.a. beim Wuppertaler „Festival für freie Musik“ 🎻 🎺
" 'Neues und Ungewohntes, bisweilen auch Verstörendes' verspricht das #BRÖtz-Festival. Dass es Gründe dafür gibt, auch außermusikalische, weiß, wer noch Nachrichten liest."
#Wuppertal #Brötzmann #PeterBrötzmann #Jazz #FreeJazz #Festival #Saxofon @tazgetroete @wuppertal
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🎶 🎷 "BRÖtz" - "Bei Festivals mit experimenteller Musik gibt es Archaik und Folk auf Streich- und Saiteninstrumenten aus aller Welt zu hören" (taz) u.a. beim Wuppertaler „Festival für freie Musik“ 🎻 🎺
" 'Neues und Ungewohntes, bisweilen auch Verstörendes' verspricht das #BRÖtz-Festival. Dass es Gründe dafür gibt, auch außermusikalische, weiß, wer noch Nachrichten liest."
#Wuppertal #Brötzmann #PeterBrötzmann #Jazz #FreeJazz #Festival #Saxofon @tazgetroete @wuppertal
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Last Exit's Iron Path was the CD that convinced me to finally buy a CD player in 1988. (Though ultimately "Noise of Trouble: Live in Tokyo" is my fave of their recordings.)
#PeterBrotzmann #RonaldShannonJackson #BillLaswell #SonnySharrock #PeterBrötzmann #LastExit #IronPath
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Laswell x Brötzmann, Low Life, 1987. Monty is not sure about the racket. I still think it is pretty great.
#BillLaswell #PeterBrötzmann #PeterBrotzmann #LowLife #CelluloidRecords
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Brötzmann / Schlippenbach / Bennink - "Fifty Years After" https://peterbroetzmann.bandcamp.com/track/fifty-years-after #PeterBrötzmann #RIP #jazz #freejazz #music #Bandcamp #improvisation
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Peter Brötzmann (March 6, 1941 – June 22, 2023) #PeterBrötzmann #freejazz
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#NowPlaying Bill Laswell just dropped a 24-bit version of #LastExit’s only studio album.
In Memory:
#PeterBrötzmann (March 6, 1941 – June 22, 2023)
#SonnySharrock (August 27, 1940 – May 26, 1994)
#RonaldShannonJackson (January 12, 1940 – October 19, 2013) -
Vale Peter Brötzmann. There are very few artists who can take their medium and redefine their limits. Fearless, formidable, uncompromising. He will be missed
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#NowPlaying #PeterBrötzmann Here’s a 2018 lecture at RBMA Berlin where he talked about learning from the ’60s avant-garde, why he doesn't believe in teaching jazz, and how improvisation comes down to fitting in or fighting. https://www.youtube.com/watch?v=ywtHnhDqZsU
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As a tribute to #PeterBrötzmann, The Wire magazine has made David Keenan’s epic two-part 2012 interview, as well as Daniel Spicer’s Primer guide to Brötzmann’s many recordings, free to read in their online library. https://www.thewire.co.uk/in-writing/the-portal/peter-brotzmann-6-march-1941-22-june-2023
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https://youtube.com/watch?v=xAiPFZQLK1c&feature=share A good night for a Brotzmann listening session via Die Like A Dog.. Put down the Goose for one night and die like a dog, or something. :) #PeterBrotzmann
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RIP to Peter Brotzmann, an intense musician who followed his Muse as far as it would take him.
https://thequietus.com/articles/33099-peter-brotzmann-has-died-aged-82
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#PeterBrötzmann in #LastExit live at Deutsches Jazzfestival, 1986 with #RonaldShannonJackson, #SonnySharrock, and #BillLaswell. https://www.youtube.com/watch?v=FKYq4H3-iKM
