That spontaneity is palpable throughout, and the music also benefits from the careful engineering of confrere Martin Siewert. The material is such a part of his DNA that he simply hoisted his horn and let the pieces pour out without premeditation. To hear Brötzmann tell it, practice and rehearsals weren’t even an afterthought for the project. Brötzmann first heard the former in his youth, a time when he embraced a broad and abiding affinity for the jazz tradition even as his music regularly appeared to balk at and blast apart its consensus-fortified forms and strictures. The same could be said for the eight jazz standards and brief Bach improvisation, which join four originals in a program geared lovingly and unsparingly to the grainy sound striations of his trusty tenor saxophone. Procured in the pre-internet days when pornography was a far less pervasive and prolific industry, Brötzmann held onto the photo through the decades as something of a keepsake. In a recent, customarily candid interview, Peter Brötzmann reveals the provenance of the antique pin-up that graces the cover of I Surrender Dear, his tenth solo album. Peter Brötzmann – I Surrender Dear (Trost)
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