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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 117. Not illustrated. Chapters: German Jazz Flautists, German Jazz Guitarists, German Jazz Organists, German Jazz Pianists, German Jazz Saxophonists, German Jazz Singers, German Jazz Trumpeters, German Jazz Vibraphonists, Peter Brötzmann, Jutta Hipp, Hans Reichel, Alexander Von Schlippenbach, Till Brönner, Roger Cicero, Torsten de Winkel, Tom Gaebel, Ottmar Liebert, Markus Stockhausen, Markus Burger, Marla Glen, Barbara Dennerlein, Joachim Kühn, Volker Kriegel, Christof Lauer, Christof May, Leni Stern, Gunter Hampel, Michael Hornstein, Anna Depenbusch, Mel Stitzel, Peer Baierlein, Eva Kurowski, Wolfgang Dauner, Gerd Dudek, Rose Nabinger, Michael Schiefel, Rainer Brüninghaus, Michael Wollny, Sigi Schwab, Helmut Brandt, Uli Beckerhoff, Klaus Ignatzek. Excerpt: Peter Brötzmann (born 6 March 1941) is a German artist and free jazz saxophonist and clarinetist. Brötzmann is among the most important European free jazz musicians. His rough, lyrical timbre is easily recognized on his many recordings. He studied painting in Wuppertal and was involved with the Fluxus movement, but grew dissatisfied with art galleries and exhibitions. He experienced his first real jazz concert when he saw American jazz musician Sidney Bechet while still in school at Wuppertal, and it made a lasting impression. He has not abandoned his art training, however: Brötzmann has designed most of his own album covers. He first taught himself to play various clarinets, then saxophones; he is also known for playing the tárogató. Among his first musical partnerships was that with double bassist Peter Kowald. For Adolphe Sax, Brötzmann's first recording, was released in 1967 and featured Kowald and drummer Sven-Ake Johansson. 1968, the year of political turmoil in Europe, saw the release of Machine Gun, an octet recording often listed among the most notable free jazz albu...
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