"Born Remscheid, Germany on 6 March 1941; soprano, alto, tenor, baritone and bass saxophones, a-clarinet, e-flat clarinet; bass clarinet, tarogato.

Peter Brötzmann's early interest was in painting and he attended the art academy in Wuppertal. Being very dissatisfied with the gallery/exhibition situation in art he found greater satisfaction playing with semi-professional musicians, though continued to paint (as well as retaining a level of control over his own records, particularly in record sleeve/CD booklet design). In late 2005 he had a major retrospective exhibition jointly with Han Bennink - two separate buildings separated by an inter-connecting glass corridor - in Brötzmann's home town of Remscheid.

Self-taught on clarinets, he soon moved to saxophones and began playing swing/bebop, before meeting Peter Kowald. During 1962/63 Brötzmann, Kowald and various drummers played regularly - Mingus, Ornette Coleman, etc. - while experiencing freedoms from a different perspective via Stockhausen, Nam June Paik, David Tudor and John Cage. In the mid 1960s, he played with American musicians such as Don Cherry and Steve Lacy and, following a sojourn in Paris with Don Cherry, returned to Germany for his unorthodox approach to be accepted by local musicians like Alex von Schlippenbach and Manfred Schoof.

The trio of Peter Brötzmann, Peter Kowald and Sven-Ake Johansson began playing in 1965/66 and it was a combination of this and the Schoof/Schlippenbach Quintet that gave rise to the first Globe Unity Orchestra. Following the self-production of his first two LPs, For Adolphe Sax and Machine gun for his private label, BRÖ, a recording for Manfred Eicher's 'Jazz by Post' (JAPO) [Nipples], and a number of concert recordings with different sized groups, Brötzmann worked with Jost Gebers and started the FMP label. He also began to work more regularly with Dutch musicians, forming a trio briefly with Willem Breuker and Han Bennink before the long-lasting group with Han Bennink and Fred Van Hove. As a trio, and augmented with other musicians who could stand the pace (e.g. Albert Mangelsdorff on, for example, The Berlin concert), this lasted until the mid-1970s though Brötzmann and Bennink continued to play and record as a duo, and in other combinations, after this time. A group with Harry Miller and Louis Moholo continued the trio format though was cut short by Miller's early death.

The thirty-plus years of playing and recording free jazz and improvised music have produced, even on just recorded evidence, a list of associates and one-off combinations that include just about all the major figures in this genre: Derek Bailey (including performances with Company (e.g. Incus 51), Cecil Taylor, Fred Hopkins, Rashied Ali, Evan Parker, Keiji Haino, Misha Mengelberg, Anthony Braxton, Marilyn Crispell, Andrew Cyrille, Phil Minton, Alfred 23 Harth, Tony Oxley. Always characterised as an energy player - and the power-rock setting of Last Exit with Ronald Shannon Jackson, Sonny Sharock and Bill Laswell, or his duo performances with his son, Casper, did little to disperse this conviction - his sound is one of the most distinctive, life-affirming and joyous in all music. But the variety of Brötzmann's playing and projects is less recognised: his range of solo performances; his medium-to-large groups and, in spite of much ad hoc work, a stability brought about from a corpus of like- minded musicians: the group Ruf der Heimat; pianist Borah Bergman; percussionist Hamid Drake; and Die like a dog, his continuing tribute to Albert Ayler, with Drake, William Parker and Toshinori Kondo. Peter Brötzmann continues a heavy touring schedule which, since 1996 has seen annual visits to Japan and semi-annual visits to the thriving Chicago scene where he has played in various combinations from solo through duo (including one, in 1997, with Mats Gustafsson) to large groups such as the Chicago Octet/Tentet, described below. He has also released a number of CDs on the Chicago-based Okka Disk label, including the excellent trio with Hamid Drake and the Moroccan Mahmoud Gania, at times sounding like some distant muezzin calling the faithful to become lost in the rhythm and power of the music.

The "Chicago Tentet" was first organized by Brötzmann with the assistance of writer/presenter John Corbett in January 1997 as an idea for a one-time octet performance that included Hamid Drake and Michael Zerang (drums), Kent Kessler (bass) and Fred Lomberg-Holm (cello), Ken Vandermark and Mars Williams (reeds), and Jeb Bishop (trombone). The first meeting was extremely strong and warranted making the group an ongoing concern and in September of that same year the band was expanded to include Mats Gustafsson (reeds) and Joe McPhee (brass) as permanent members (with guest appearances by William Parker (bass), Toshinori Kondo (trumpet/electronics), and Roy Campbell (trumpet) during its tenure) - all in all a veritable who's who of the contemporary improvising scene's cutting edge. Though the Tentet is clearly led by Brötzmann and guided by his aesthetics, he has been committed to utilizing the compositions of other members in the ensemble since the beginning. This has allowed the band to explore an large range of structural and improvising tactics: from the conductions of Mats Gustafsson and Fred Lonberg-Holm, to the vamp pieces of Michael Zerang and Hamid Drake, to compositions using conventional notation by Ken Vandermark and Mars Williams, to Brötzmann's graphic scores - the group employs almost every contemporary approach to composing for an improvising unit. This diversity in compositional style, plus the variety in individualistic approaches to improvisation, allows the Tentet to play extremely multifaceted music. As the band moves from piece to piece, it explores intensities that range from spare introspection to all out walls of sound, and rhythms that are open or free from a steady pulse to those of a heavy hitting groove. It is clear that the difficult economics of running a large band hasn't prevented the group from continuing to work together since its first meeting. Through their effort they've been able to develop an ensemble sound and depth of communication hard to find in a band of any size or style currently playing on the contemporary music scene."

"Steve Hubback is from Barry in South Wales where his musical career began in 1978 playing in local rock and rock and roll groups and later attending the Barry Jazz and Improvised music Summer School where he met and was inspired by Tony Oxley. Gordon Beck. Evan Parker. Alan Holdsworth. Phil Wachsman. Trevor Tomkins. Roy Babington. Keith Tippet. Alan Skidmore. Fred Van Hove, Peter Brotzmann and many other great musicians. It was a life changing experience.

He started a jazz club in Barry in a big hotel which became well known in Wales and soon after a Friday night rock club in the same venue. After turning professional Steve left Wales for Paris in early 1981 which was a fantastic cultural and learning experience. During his time in Paris he first played in a rock 'n' roll group and later in the rock group Splat with Goffo and Joe Hamilton.. He also began performing solo and performed surrealist theatre with Italian Artist - dancer/sculptor Loredana Celi who is an amazing artist and Steve learnt a lot from Loredana about working with visual and movement as well as sound. In 1983 Steve also had the opportunity to perform in Versailles with the legendary Bob Vatel. 'He saw me playing in Paris and invited me to play a concert with him and that was a fantastic experience for me.

In the mid 1980's Steve founded and led It's My Head originally with rock guitarist 'Goffo' from London. Peformed in Denmark. Norway and Sweden. Goffo left in 1986 and Steve invited the phenomenal Swedish guitarist Jorgen Cremonese to join. The highly acclaimed debut CD was recorded in Aarhus with Danish guitarist R L Lunding from the band Picnic and the rest at Jorgen Sangsta's Urania Studios in Gothenburg Sweden with Jorgen Sangsta contributing a rythym track on Mime For The blind. Steve played drums, motorized guitar, keyboards and made recordings of live smashing glass and metal sheets dropped from a stairway in an abanded factory and recording angle grinders which are all intergrated on the recordings. Jorgen Sangsta played lead guitars and keyboards.Norwegian photographer Per Talleraas had joined the group in 1985 intergrating his film and slide projections and his photo's were always used on IMH covers and art. Most of the live performances were in Scandinavia and included a legendary performance at Hennie Onstad Senter outside Oslo. In 1988 through Dossier Records in Berlin Steve toured for 2 weeks in the DDR (East Germany) with Dietmar Diesner and performed solo at Druga Godba in Slovenia. Steve was also was in the original line up of the Danish chamber group Atlantis Transit.

In 1996 invited to tour South Korea as part of Lim Dong Chang's 'World is One' ensemble. That was an incredible experience. ' I learnt a great deal about movement and breathing and space in music through Lim Dong Chang. In 1996 together with Danish artist Harald Viuff co founded The Hydronorts in Denmark for very large scale performances. Steve created a series of floating sculptures along with Paul Burwell from Bow Gamelan Ensemble. The sculptures were moored in Kolding Fjord for the Summer of 1996. Later that year The Hydronorts gave large scale performances in Copenhagen harbour which included The Hot pipe Organ - Bastiaan Maris, Geo Homsey and Stock and high voltage sculptor Barry Schwartz.

In 2000 An invitation to participate in The Kortrijk Percussion project led by Belgian master drummer Dirk Wachtelaer and which featured English drummer Trevor Taylor. Dirk was working with his electronic sounds. Trevor Taylor was playing Sculptures Sonores by the Baschet Brothers and Steve was performing on his sound sculptures and percussion creations.

In 2002 In Iceland was founding member of the Icelandic group Jord Bifast together with Egill Johannsson and Siggi Hrellir. Due to logistics Jord Bifast only performed live in Iceland. That same year Steve formed Recreator together with Nick Le Beat and Theo Travis (Soft Machine and Steve Wilson of Porcupine Tree).

Since 1999 Duo performances and recordings with Dutch pioneer sax and reeds improviser Ad Peijnenburg. Also in 1999 Steve began performing and recording with Norwegian saxophonist and clarinetist Frode Gjerstad.

In 2008 Steve was invited to perform on The Large Hot Pipe Organ at Robodock in Amsterdam and Blast in Birmingham. 'I was playing electric drum pads to trigger the explosions in the pipes which was strange as the sound was generated a few seconds later. In London recorded together with Paul Clarvis on sound sculptures and gongs on the soundtrack of State of Play (Russel Crowe, Ben Aflack and Helen Miren) Music was composed by Alex Heffes.

In 2009 Steve began performing with the highly respected Celtic harpist Nadia Birkenstock. Their first performance was at the International Harp festival in Selstad outside Barcelona. They have continued since then as The Glow Within. Performing in Germany. Czech Republic. Italy. Netherlands. France. Spain and Portugal."