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Recently there was a thread that had a discussion about Peter Brötzman and his playing - is it jazz, can you stand it, etc, so I thought I'd post this, which is germane to his position, at least in Europe, as a driving force in jazz.

He has recently been awarded the prestigious, bi-annual Albert-Mangelsdorf Prize for jazz composition, awarded jointly by GEMA (the German ASCAP) and der Union Deutscher Jazzmusiker (the Union of German Jazz Musicians) at the Akademie der Künste (Academy of Arts) in Berlin.

This is the most important award for jazz composers in Germany, if not Europe. It is a bi-annual award recognising the contribution and significance to the art of jazz, an honour in and of itself, but which also brings with it a financial gift, in this year's case 15,000.00 Euro (a little over $20,000.00), which will buy a lot of reeds.

Seems like there's some love for the man there someplace. :mrgreen:
 

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and I am sure he needs the cash to buy the reeds because the reeds get hell of a whack from him :bluewink: :) congrats
 

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Wow congratulations Peter Brotzmann and very well deserved with a 40 year strong career and blowing with guys half his age these days and he is in his 70's.
 

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.......and he's self taught!
Actually, he studied painting, design and graphic design (I think in Wuppertal, Germany). He's designed most of his album covers and has showings. IMO he's quite a good graphic artist.
 

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Actually, he studied painting, design and graphic design (I think in Wuppertal, Germany). He's designed most of his album covers and has showings. IMO he's quite a good graphic artist.
Actually, I'm sure you know what I was referring to.
 

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Recently there was a thread that had a discussion about Peter Brötzman and his playing - is it jazz, can you stand it, etc, so I thought I'd post this, which is germane to his position, at least in Europe, as a driving force in jazz.

He has recently been awarded the prestigious, bi-annual Albert-Mangelsdorf Prize for jazz composition, awarded jointly by GEMA (the German ASCAP) and der Union Deutscher Jazzmusiker (the Union of German Jazz Musicians) at the Akademie der Künste (Academy of Arts) in Berlin.

This is the most important award for jazz composers in Germany, if not Europe. It is a bi-annual award recognising the contribution and significance to the art of jazz, an honour in and of itself, but which also brings with it a financial gift, in this year's case 15,000.00 Euro (a little over $20,000.00), which will buy a lot of reeds.

Seems like there's some love for the man there someplace. :mrgreen:
A lot of reeds, but not much in the way of a retirement pension. I hope he's got some measure of financial security commensurate with his artistic and social contributions (his liner note tribute to Johnny Dyani is priceless).
 

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Discussion Starter · #10 ·
A lot of reeds, but not much in the way of a retirement pension. I hope he's got some measure of financial security commensurate with his artistic and social contributions (his liner note tribute to Johnny Dyani is priceless).
Rackety, when I lived in Germany, I belonged to the Kunstlersozialkasse which is an organisation for self-employed artists and musicians and which manages their health insurance and retirement benefits. I paid into it monthly based on my income.

It works like most industrialised country's social security systems, where you pay in during your working years, and then, when you reach retirement age, which I think is 67 in Germany, collect a social security check based on how many years you paid in. You also receive medical coverage. The difference is that in this case the Kunstlersozialkasse acts as your "employer" since you don't have one.

That social security check will not be enough to live on, just like the American check won't be, so any self-employed artist will have also needed to have set up a private savings/investment account to draw on at retirement time. Easier said than done sometimes, but that's where personal responsibility comes in. Hopefully he's set aside some coin along the way - and/or married someone with a long-time stable income.
 

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Interesting, thanks for the info Gary.

I think I've probably told this Brotzmann story before, but I can't resist repeating it. I was at the first Vision Festival in New York in the mid-90s. Brotzmann played a set as a duo with pianist Borah Bergman IIRC. There was no sound check after the previous set, and Brotzmann stepped up to the mic and started out by himself with a roar that, between his enormous volume and a mic turned too high, felt like it would bring the building down.

I can't imagine too many situations where Brotzmann requires amplification. That loft space was definitely not one of them.
 
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