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212 Chapter 9 improvisation, and he wrote music with specific individuals in mind, not to be repeated (or âretrievedâ) by âany oldâ saxophone player or by classical musicians. Most improvising musicians also invited their colleagues to contribute their own creativity to the realisation of their compositional works, and reeds player Uli Kempendorff described how: In my group, the material is much more songs and everything, but I choose players who will destroy and âslash-and-burnâ everything. [...] I still want to expose it to that. [...] I donât call Jonas Burgwinkel,70 but I call Oli Steidle... because I want all these elements. Describing his colleague and friend, Tristan Honsinger, Tobias Delius added that: [Tristan is] of a very strong mind, and... his pieces are very strong... [but] I think he works best when there are people on stage, who, although they might try to understand him and... try to comply with his wishes, at the same time that they have a mind of their own. And, even though compositions were now involved, music-making remained a collective process and individual voices could still be heard, Michael Thieke explaining how even in his most jazz-orientated work: The lack of hierarchy in collectives is something I really enjoy. With some exceptions. [...] If itâs clear somebody writes the music, and also has this idea and wants to realise it, then if I like the basic material... Iâve no problem to have that part of the decision out of my hands. Still, I wouldnât like a band where I couldnât tell my opinion... I wouldnât play in a band where I would need to fake something to fit into the music. So in a way, still these bands have a collective feeling to it because the final decision [of] what to do remains a collective decision, and itâs not like the bandleader says âItâs done this way, even if they donât like it.â That wouldnât work for me. For many, âaccurateâ realisation of their compositions (or any idea of Werktreue) was far from their aim, and Rudi Mahall delighted that: When I write a composition I write pretty basic stuff... and Iâm always happy when it sounds different! Adding that, in one concert of a Berlin-based 9-piece band, âIt was great, because nobody actually played what was there on the page!â, and telling me that this related to a deeper philosophy of music-making inspired by a first-hand encounter with John Cage, when Mahall was aged 18 (âCage would have been happy, when something happened 70 A young drummer based in KoÌln and well known in the German jazz scene.