His torrential, incendiary language, partially borrowed from Albert Ayler's harshest tones after removing the lyrical subtleties, set the pace for Broetzmann's 17-minute Machine Gun, Van Hove's ten-minute Responsible and Breuker's eleven-minute Music for Han Bennink on a seminal recording of European free-jazz, Machine Gun (may 1968), performed by an octet with three saxophonists (Broetzmann, Willem Breuker, Evan Parker), piano (Fred Van Hove), two basses (Kowald and Buschi Niebergall), two drummers (Han Bennink and Johansson). Sheer intensity replaced the concepts of order and structure.

Nipples (april 1969) contained the 15-minute timbral nightmare Tell a Green Man by a quartet with pianist Fred Van Hove, bassist Buschi Niegergall and Dutch drummer Han Bennink, and the 18-minute collective maelstrom Nipples by a sextet with tenor saxophonist Evan Parker, guitarist Derek Bailey, Van Hove, Niegergall and Bennink.

Another furious performance of the time, the 36-minute Fuck de Boere (march 1970), off Fuck de Boere (2001), featured Breuker, Parker, Van Hove, Bennink, guitarist Derek Bailey and four trombones (Malcolm Griffiths, Willem van Manen, Buschi Niebergall, Paul Rutherford).

Trimming down the line-up to a trio with only Van Hove and Bennink, Broetzmann recorded the exuberant Balls (august 1970), with the 14-minute Balls and the eleven-minute De Daag Waarop Sipke Eindelijk Zijn Nagels Knipte, En Verder Alle Ander.

Augmented with trombonist Albert Mangelsdorff, the trio indulged live in the 20-minute Florence Nightingale, the 15-minute Elements, the 21-minute Couscouss de la Mauresque, the 19-minute Wenn Mein Schaetzlein auf die Pauke Haut and the 23-minute The End, first documented on Elements, The End and Couscouss de la Mauresque, and later collected on Live In Berlin (august 1971).

The trio jammed with 15 children in the four-side long Free Jazz und Kinder (april 1972). Then, appropriately, recorded the childish Broetzmann/ van Hove/ Bennink (february 1973), featuring Broetzmann on alto, tenor, baritone and bass saxophones as well as on clarinet, Van Hove on piano and celesta and Bennink on all sorts of percussion including a rhythm machine. Einheitsfrontlied (march 1973) was issued as a single.

The two volumes of Outspan (april and may 1974) also featured Mangelsdorff (the 16-minute Serieuze Serie, the 18-minute Outspan No 1 and the 21-minute Ende mit Broetzophon).

After another childish endeavour, Tschus (september 1975), with Van Hove also on accordion and Bennink on all sorts of noises, the celebrated trio dissolved.

A disappointing Solo (may 1976) was followed by duets with Han Bennink: Ein Halber Hund Kann Nicht Pinkeln (april 1977), on which Broetzmann played soprano, alto, tenor saxophones, a-clarinet, b-flat clarinet, bass clarinet and piano, while Bennink played piano, drums, viola, banjo and bass clarinet, and Schwarzwaldfahrt (may 1977), recorded in the Black Forest (Bennink plays birdcall, wood, trees, sand, land, water, air...). Broetzmann and Bennink also formed a trio with pianist Misha Mengelberg for 3 Points and a Mountain (february 1979), containing Broetzmann's 3 Points and a Mountain, as well as 3 Points and a Mountain Plus (same session), containing Broetzmann's The Bar Seems to Vanish in the Distance.

A new trio with bassist Harry Miller and drummer Louis Moholo smoothed out the edges on The Nearer the Bone the Sweeter the Meat (august 1979) and the double-LP live Opened but Hardly Touched (november 1980), with the extended improvisations of Special Request for Malibu, Opened but Hardly Touched and Double Meaning. Building on the foundations of this trio, Alarm (november 1981), containing the 37-minute Alarm, featured three saxophonists (Broetzmann, Breuker, Frank Wright), Japanese trumpeter Toshinori Kondo, pianist Alex Schlippenbach, two trombones, bass (Miller) and drums (Moholo). The music had lost much of its devastating strength, as if Broetzmann had fallen under the spell of Breuker.

Other collaborations included: Pica-Pica (september 1982) with Mangelsdorff and percussionist Guenter "Baby" Sommer; Berlin Djungle (november 1984), credited to the Clarinet Project (Broetzman on saxophones, trumpeter Toshinori Kondo, two trombones, five clarinetists including Tony Coe and John Zorn, bassist William Parker and drummer Tony Oxley); Trollymog (june 1986) with Peter Kowald; Last Exit, a metal-jazz group formed in 1986 with drummer Ronald Shannon Jackson, guitarist Sonny Sharrock and rock bassist Bill Laswell; Go-No-Go (january 1987) with fellow saxophonist Alfred Harth; Low Life (january 1987) With Bill Laswell; No Material (march 1987) with rock drummer Ginger Baker and Sonny Sharrock; Reserve (november 1988) with Sommer and bassist Barre Phillips; In a State of Undress (march 1989) with trumpeter Manfred Schoof; Last Home (august 1990) with Casper Brotzmann; etc.

The solo albums were always less engaging than his small-combo recordings: 14 Love Poems (august 1984), No Nothing (december 1990), Right As Rain (august 2000).

Broetzmann's best combo of the period was the Die Like a Dog Quartet, formed with bassist Wiliam Parker, drummer Hamid Drake and trumpeter Toshinori Kondo, and documented on the live Fragments of Music, Life and Death of Albert Ayler (august 1993), the two volumes of Little Birds Have Fast Hearts (november 1997), From Valley To Valley (july 1998), with Roy Campbell replacing Kondo, and Aoyama Crows (november 1999), with Kondo back in the ranks.

In 1997 Broetzmann formed the Chicago Octet that lined up percussionists Hamid Drake and Michael Zerang, bassist Kent Kessler, cellist Fred Lomberg-Holm and trombonist Jeb Bishop around three three saxophonists/clarinetists: Broetzmann, Ken Vandermark and Mars Williams. The Chicago Tentet was the octet augmented with Mats Gustafsson on baritone saxophone and fluteophone and Joe McPhee on pocket cornet, valve trombone and soprano saxophone. The trible-CD The Chicago Octet/Tentet (september 1997) documented the compositional versatility, ranging from Vandermark's conventional notation (Other Brothers) to Broetzmann's post-Cage notations (Burning Spirit, Foolish Infinity). The ensemble's tour de force was Stonewater, documented both on the live Stone/Water (may 1999), with Kondo's trumpet replacing Williams and William Parker replacing Kessler, and on Broken English (july 2000), with Williams and Kessler (and Roy Campbell replacing Kondo). Tentet-like line-ups recorded Short Visit to Nowhere (july 2000), Two Lightboxes (july 2000), Images (november 2003), Signs (november 2003), Be Music Night (november 2004).

Collaborations at the turn of the century included: Songlines (october 1991) with Fred Hopkins and Rashied Ali; Dried Rat Dog (may 1994) with Hamid Drake; Evolving Blush or Driving Original Sin (april 1996) with Japanese guitarist Keiji Haino; The Wels Concert (november 1996) With Hamid Drake and Mahmoud Gania; Eight by Three (april 1996) with pianist Borah Bergman and saxophonist Anthony Braxton; Live At Nefertiti (march 1999) with Swedish drummer Peeter Uuskyla and Danish guitarist Peter Friis Nielsen; Noise of Wings (march 1999) with Nielsen and drummer Peeter Uuskyla; Three Rocks and a Pine (july 1999) with the Wild Mans Band (drummer Peter Ole Jorgensen, bassist Peter Friis Nielsen, saxophonist Mats Gustafsson); Shadows (march 2000) with Haino and Japanese drummer Shoji Hano; Northung (june 2001) with Parker and percussionist Michael Wertmueller; Never Too Late But Always Too Early (april 2001) with Drake and Parker; Tales Out of Time (june 2002) with saxophonist/trumpeter Joe McPhee, bassist Kent Kessler and drummer Michael Zerang; Medicina (march 2003) with Nielsen and drummer Peeter Uuskyla; Still Quite Popular After All Those Years (february 2004) with Bennink; etc.

Guts (august 2005) was a collaboration among Joe McPhee on trumpet and saxophones, Peter Broetzmann on saxophones, Kent Kessler on double bass and Michael Zerang on drums: the 17-minute Guts and the 41-minute Rising spirits

American Landscapes 1 & 2 (may 2006) documents two improvisations by saxophonists Ken Vandermark, Mats Gustafsson and Joe McPhee, trombonist Hannes Bauer, tuba player Per-ake Holmlander, cellist Fred Lonberg-Holm, bassist Kent Kessler and drummers Michael Zerang and Paal Nilssen-Love.

At Molde 2007 (july 2007) documented a live performance by the Chicago Tentet (the 40-minute Ten by Ten, the 23-minute Step by Step).

The double-disc Born Broke (september 2006) is a collaboration with drummer Peeter Uuskyla over four lengthy pieces: Born Broke (21.45), Beautiful but Stupid (13.33), Ain't Got the Money (22.29), Dead and Useless (38.24).

BRO-C in Amherst 2006 (october 2006) documents eight duets between Peter Broetzmann and Han Bennink.

Sonore, the trio of Mats Gustafsson, Ken Vandermark and Peter Brotzmann, was documented on the live No One Ever Works Alone (october 2003) and double-disc Call Before You Dig (december 2008), that contains both a live and a studio session.

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