You start from the beginning.ĭoes your music reflect the current world situation? Working in the studio (alone) on canvas or paper or whatever, you always can put the result into the garbage or stuff it into the oven and it never has existed. (the solo playing came up later and had very often economic reasons). Well, it’s the same person doing it, there must be some links but more important are the differences: if you play music it’s out in the clouds and you can’t take it back and usually you do it together with at least one more person Would it be possible to draw parallels between painting and music? And I realized that I liked being on the road together with other musicians an built up something new and unheard. Paik and Joseph Beuys, we had visited him in his Düsseldorf studio, were the people who told me to go on. Paik was the man who encouraged me to go on with my way of playing, nobody liked it, for the jazz folks it was no jazz, for the contemporary music friends it was no music at all. At that time my goal still was to be a painter, music was always on the side and very important, but it was not the main thing. And via Paik I met a couple of the Fluxus guys, among them Tomas Schmit and with him I took part in some Fluxus activities in Amsterdam the following year. What was the main influence that led this decision towards music making?Ī misinformation: I never was a member of the Fluxus movement, I assisted Nam June Paik at his exhibition at ‘gallery Parnass’ in Wuppertal. You were actively engaged with it, but soon decided that you want to invest more effort into your music, as you grew dissatisfied with art galleries and exhibitions.
Korean American artist Nam June Paik acquainted you with the Fluxus.
Peter brötzmann machine gun free#
“There is nothing like that in the field of music and in life, nothing in this world is FREE you just spread your elbows and make a bit more space for yourself.”īack in the 1960s you were part of the Fluxus movement – experimental art performances which emphasized the artistic process over the finished product. Peter Brötzmann is one of the most outstanding saxophone players in the current international (free) jazz scene. It does not store any personal data.Peter Brötzmann interview Interview with maestro of free jazz The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly.
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