MACHINE GUN PETER BROTZMANN Y SERIAL

MACHINE GUN PETER BROTZMANN Y SERIAL

This enabled composers to extrapolate serial and procedural-based compositional concepts found in the works of Boulez, Stockhausen and others. Granted, by this time, there had been an era-shaping migration of higher-profile members of the Association for the Advancement of Creative Musicians and the Black Artists Group to New York, including the members of Art Ensemble of Chicago, who encapsulated the purview of post-Coltrane jazz for me with вЂњAncient to the Future.вЂќ Yet, it was in the Midwest where both communities nurtured pan-idiomatic sensibilities in their internationally acclaimed members. At the time, I was thoroughly convinced that the epicenter of the music was the Midwest. Similar, but not the same: ThatвЂ™s the essence of my initial reaction in 1978 to the first FMP albums I encountered вЂ“ Peter BrГ¶tzmannвЂ™s Machine Gun and Manfred SchoofвЂ™s European Echoes вЂ“ which were proffered to me by an abidingly reliable source as core documents of post-Coltrane jazz. It is a conclusion based upon a degree of familiarity. Tens of millions of Americans of his generation heard European languages, ate European food and heard European music on a regular, if not daily basis.

вЂњTheyвЂ™re just like us,вЂќ he would say about Europeans, вЂњexcept theyвЂ™re different.вЂќ There is less folksy American reductivism in this assessment than meets the eye. My father spent a few formative years in Europe, including a memorable Christmas in the Ardennes. Alexander von Schlippenbach, Willisau 1976.

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