Anthony Braxton is also known for his graphic scores.

For instance his Chicago Tentet (et al) used these strategies as seen here:ДЄnd here, where the entire recording and performance were directed by Brotzmann's own artwork and 'game pieces' if you will. Usually when he's working with a larger ensemble there can be more composition or 'strategies' worked out for the piece, usually to keep things somewhat on-track and to allow everyone to shine. Rarely if ever is anything through-composed. As some have pointed out sometimes there are 'heads' and composed or pre-determined themes, and other times there are none of these and the performance is completely improvised and 'of the moment'. The bluster and the energy were very much a part of that, but if you stop there you're doing yourself and him and his comrades a disservice.Д®re's an example of one of his art books:ДЄs far as the initial OP's question is concerned the answer is: It depends.

The music was hard to separate at the time, and the intent was to often blow down walls, real or imagined, and to convey a particular artistic and political aesthetic. He was a visual artist and part of the Fuxus Movement and Dadism. Sure, at first that may have been the case, but the music grew out of a particular time and place and scene that was flourishing at the time and Brotzmann was part of a much wider art-movement. Lean on posts (of course) but some good discussion starting here.ДЄhhhh the old 'Brotzmann Bluster' albatross. Click to expand.How the hell do I miss these threads? Seems like everytme I check the 'Music Forum' it's: Beatles, Beatles, Monkees, What If The Monkees Played The Beatles? Was listening to Brotz this morning and got a wild hair and decided to actually search the forum and found this.

Peter brotzmann short visit to nowhere