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Maybe not a relevant question, but I would like to ask you if you were familiar with experimental bands from Germany? IвЂ™m particularly referring to Faust, Can, Amon DГјГјl II, Agitation Free, Ash Ra Tempel, Tangerine Dream and the likes. вЂњIt was a wide open field and everything was possible.вЂќ Trips to London followed, some other world opened up with different people, music (heard the Joe Harriott band, didnвЂ™t know who he was of course) and that was an experience that brought me closer to вЂmyвЂ™ music, and it was clear that music is the world language and for whatever reasons blues and jazz seemed to be my thing. Would you be able to describe, in a few sentences, the scene back in the 1960s in Germany? What other musicians inspired you back then?ДЄs a child of the war, growing up in this dusty Adenauer times I/we had questions but nobody gave us answers so I started to travel, nearest border was the Dutch one and I can tell you, each time my lungs felt some fresh air, and not only my lungs I can tell you. ThatвЂ™s a too big thought, though I donвЂ™t walk around the world with closed eyes and ears, a good example is the overall upcoming brown sauce poisoning the groundwaters all over Europe and other parts of the world, to see that at the end of my years make me furious and of course I have to leave that somewhere. You start from the beginning.Дoes 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, itвЂ™s the same person doing it, there must be some links but more important are the differences: if you play music itвЂ™s out in the clouds and you canвЂ™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 DГјsseldorf 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?ДЄ misinformation: I never was a member of the Fluxus movement, I assisted Nam June Paik at his exhibition at вЂgallery ParnassвЂ™ 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.

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вЂњThere 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.вЂќД«ack in the 1960s you were part of the Fluxus movement вЂ“ experimental art performances which emphasized the artistic process over the finished product.

Peter BrГ¶tzmann is one of the most outstanding saxophone players in the current international (free) jazz scene. Peter BrГ¶tzmann interview Interview with maestro of free jazz

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