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The Vietnam war, strikes and student protests that almost brought down the French government, and a fast-changing moral climate inevitably exerted an influence on the music. Of course, the seeds of these changes in the perception of jazz were not planted in any one year, nor blown by any single wind, but 1968 was a significant year for jazz in Europe, as it was across culture, politics and the arts. The festival's closing weekend might have been dominated by Sonny Rollins вЂ“ a surviving colossus from a circle that included Charlie Parker, Coleman Hawkins, Thelonious Monk and Miles Davis вЂ“ but it also included South African free-jazz percussionist Louis Moholo-Moholo, deconstructionist trio the Bad Plus, young British thrash-guitar blasters trioVD, former punk guitarist Billy Jenkins, sometime John Zorn trumpeter Dave Douglas, and jazz-savvy producer Matthew Herbert working with the London Sinfonietta.ДЄudiences increasingly attend these shows without wondering whether or not they fit a written-in-stone definition of jazz вЂ“ or, for that matter, whether they follow the dictates of the tempered scale, a 4/4 swing pulse, or even a narrative shape with an explicit beginning, middle and end. He's also recorded or performed with many other musicians, including Cecil Taylor, Evan Parker, Han Bennink, Bill Laswell, William Parker, Willem Breuker, Ken Vandermark, Conny Bauer and BrГ¶tzmann's son, Caspar BrГ¶tzmann, a notable guitarist in his own right.As this year's London Jazz festival drew to an end yesterday (21 November), my thoughts turned to how vehemently the event's diversity would have been resisted not so many years ago.

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He has released over thirty albums as a bandleader, and has appeared on dozens more, with groups such as his Die Like A Dog Quartet (with Toshinori Kondo, William Parker and Hamid Drake, being loosely inspired by saxophonist Albert Ayler, a prime influence on BrГ¶tzmann's music), Sonore (a reed trio with Ken Vandermark and Mats Gustafsson) and Full Blast (with bass guitarist Marino Pliakas and drummer Michael Wertmuller).

In the 1980s, BrГ¶tzmann flirted with jazz fusion and noise rock in the avant-garde supergroup Last Exit.Д«rГ¶tzmann has remained active, touring and recording regularly. The logistical difficulties of touring with an octet resulted in BrГ¶tzmann eventually slimming the group to a trio once again, the most notable and lasting one with Han Bennink and Fred Van Hove. One critic has written Machine Gun offers 'a heavy-impact sonic assault so aggressive it still knocks listeners back on their heels decades later.'

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Among his first musical partnerships was that with double bassist Peter Kowald.ДЇor Adolphe Sax, BrГ¶tzmann's first recording, was released in 1967 and featured Kowald alongside drummer Sven-Г…ke Johansson.ДЎ968 saw the release of Machine Gun, an octet recording often listed among the most notable free jazz albums.

He first taught himself to play various clarinets, then saxophones he is perhaps the only jazz musician to play the tГЎrogatГі. He has not abandoned his art training, however: BrГ¶tzmann has designed most of his own album covers. He studied painting in Wuppertal and was involved with the Fluxus movement, but grew dissatisfied with art galleries and exhibitions. His rough, lyrical timbre is easily recognized on his many recordings. Peter BrГ¶tzmann (born Main Remscheid, Germany) is a German free jazz saxophonist.Д«rГ¶tzmann is among the most important European free jazz musicians.

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