Young peter brötzmann
Peter Brötzmann: Coming from my experience over the last few years, especially with my studio recording experience with certain people, I wouldn’t say its getting back to songs, but after all these years of endless wild play I really like the change of coming back to that. We considered not playing any songs, but playing songs is part of our character, that’s what we do. Is it thinkable that as a reaction on the thing he plays for example one of you would stop his part in total for a while or dramatically change it? How much is the presence of Peter Brötzmann changing the Oxbow material. Oxbow & Peter Brötzmann (Photo by Rainer Holz) It has to be a surprise.Įugene Robinson: In other words: we want the unexpected, the surprise. But it will be fully successful only if things happen we don’t expect. Niko Wenner: We could start intellectual and think about what could happen and what we want to happen. For all of us challenge is the most important part, otherwise you feel too comfortable after 30 years. The collaboration with Heather Lee is also a completely new way of thinking and playing for me. Or at the moment I am working for a couple of years with a Portuguese Rock´n´Roll band named Black Bombaim. Take as an example the year of Last Exit, which was a good challenge for me. Peter Brötzmann: For me this kind of situation is not a new one. I am always looking for challenges outside the jazz context. Talking about collaborations, do you pick certain elements you are interested in out of the sound texture or do you go riff on the other person and their sound? We have certain things in common, so it should work. Peter Brötzmann: Or they would have said: that sounds horrible – out of here! No, no. I mean, if it wouldn’t have worked yesterday at the rehearsal, I would have said: Fuck You! My sources were just a little bit of YouTube, which is always a little bit dangerous. Heather Leigh who I am working with, told me quite a bit about the band. Peter Brötzmann: Yeah, I am also looking forward to the improvised section. Niko Wenner: I would love to call tunes tonight which we didn’t practice. Niko Wenner: We spend a lot of time in the room, but actually played maybe an hour and a half.Įugene Robinson: No, not as usual. Peter Brötzmann: I think all of us are open for whatever will happen. Niko Wenner: I am expecting more chaos. Which is good. Peter Brötzmann: As far as I understood we will use some of the stuff we tried yesterday and what happens then – we will see. Is the material you rehearsed just one of several possible paths for the concert? Peter Brötzmann, Eugene Robinson and Niko Wenner (Photo by Thomas Venker) I think we have at least one thing in common: a certain kind of energy, which we could share and where we will meet. Peter Brötzmann: We are using Oxbow material and I am just the little outsider and try to find my space. I haven´ t been playing out there… That’s great. Niko Wenner: Last night at rehearsal something happened that I was thinking might happen: We as four guys, we play together for more than 30 years and we become very comfortable what we do – and Peter brought some discomfort as far as roles. I am excited to play in the most screwed up way.Īre you able to say what you are looking for in each other’s sound? Niko Wenner: I’ve been waiting for a long time to play with this guy. We will see!Įugene Robinson: We have friends in common, too, right? Lydia Lunch, Michael Werthmüller. Peter Brötzmann: Right, I realized my little mistake. I only knew a little bit about the band, so I got up to speed… And I am glad we did it. He came to visit me a few times and we talked about what we could do and one of his suggestions was to work with Oxbow. Peter, Niko, Eugene, how did this collaboration come together? Peter Brötzmann & Eugene Robinson (Photo: Rainer Holz)