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вЂњI got some paper and wrote and drew some things. Despite the albumвЂ™s iconoclastic reputation, BrГ¶tzmann conceived a relatively simple framework for it. Machine Gun, its name derived in part from Don CherryвЂ™s description of BrГ¶tzmannвЂ™s distinctive sound, found a new start by returning to the very roots of jazz. In Germany, we all grew up with the same thing: вЂNever again.вЂ™ But in the government, all the same old Nazis were still there. But we wanted to change things we needed a new start. I never thought music was a healing force of the universe. But in the bandleaderвЂ™s mind, вЂњThere is no contradiction between creation and destruction. ItвЂ™s easy to explain the albumвЂ™s singular energy as BrГ¶tzmann and company harness the eraвЂ™s ambition of plotting a new path forward. BrГ¶tzmann also recruited rising British reedist Evan Parker. Alongside the drummer and bassist from his original trio, he brought together players already firmly established within the German and Dutch avant-garde, including Han Bennink and Willem Breuker, of the Instant Composers Pool. That was something for our ears,вЂќ BrГ¶tzmann said.ДЄfter gigging for years, two landmark performances with his trio at the Frankfurt Jazz Festival landed BrГ¶tzmann the opportunity to put a bigger band together. But so were Charles Mingus and Eric Dolphy. From the outset, as captured on his 1967 debut For Adolphe Sax, BrГ¶tzmannвЂ™s violent and experimental approach was fully on display.

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вЂњAll we talked about was how to get rid of the old structures.вЂќДЄ perennial jazz fan, the stage provided BrГ¶tzmann with a more suitable home for his artistic vision than a pristine canvas. вЂњ, I was involved with various creative people-playwrights, actors, dancers and so forth,вЂќ he recalled. The emotional and political complexity it was born from still resonates today.Д«efore he entered the world of music, BrГ¶tzmann was studying to be a painter in Western Germany and was associated with Fluxus, a radical art movement influenced by John Cage and informed by an anti-commercial sentiment. The marathon, lung-bursting howl of Peter BrГ¶tzmannвЂ™s Machine Gun, which the saxophonist self-released on his BRГ– imprint 50 years ago, captured the anxiety of a generation grappling with the Vietnam War and civil unrest. For comparison, UMS has included the live version, recorded two months earlier at the Frankfurt Jazz Festival, adding Gerd Dudek to the ensemble.Bassist Buschi Niebergall (left), saxophonist Peter BrГ¶tzmann and saxophonist Willem Breuker, shown here in 1970, perform on Machine Gun, which hits its 50th anniversary this year. For this reissue, we have resequenced the CD as the original LP, followed by the two extant alternate takes.

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'Machine Gun' was a watershed - and even if it has taken four decades to find its appreciative audience, it is now an essential recording, both in terms of the development of free music in Europe and taken on its own merits, outside of the context of its creation. As BrГ¶tzmann has said: 'It was the feeling, the very naive feeling that we could take a little part in changing the world.' Adopting its title from Don Cherry's nickname for BrГ¶tzmann, 'Machine Gun' drew on the huge horn section of Lionel Hampton's 'Flying Home' for inspiration, translating the hilarious saxophonic power of the jump blues and Illinois Jacquet's booting and hollering into an abstraction painted with a flame-thrower, a la Alberto Burri. That was the impetus behind Peter BrГ¶tzmann's composition and subsequent LP, Machine Gun. But in Paris during the spring of '68, the students took the reins, and across northern Europe, a euphoric attitude had spread, charged by a sense that the world was not stuck forever but in fact could be changed. This in spite of the fact that the shitheads seemed to have the upper hand, with the quagmire of Vietnam, the intractability of the American struggle for Civil Rights, Martin Luther King's assassination, the 'shoot to kill' order in Chicago. In 1968, there was a palpable sense of optimism in the air.

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Arguably the single-most important landmark in European free music: the original BRO Records LP restored to its '68 format, with two alternate takes, new liner notes by BrГ¶tzmann and John Corbett - PLUS the only live version of 'Machine Gun' ever recorded.

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