musicians like the German saxophonist Peter Brötzmann, who is known as one of the first European free jazz musicians. The founders of European free jazz usually came from a classic jazz background and then went over bebop and hard bop into free jazz. Brötzmann began playing free jazz in 1964, and he formed a quintet with "Peter Kowald and Sven-Åke Johansson. The following year he toured Europe in a quintet led by Mike Mantler and Carla Bley, and they began an association with the Globe Unity Orchestra that lasted until 1981". Brötzmann is renowned for his high-strung, fast playing, although the harmonies in his playing are often overlooked. His collaborator Peter Kowald interpreted free jazz on double bass. Kowald helped in creating such organizations as "FMP (1969), which sponsors performances and issues recordings of free jazz, the Wuppertal Free Jazz Workshop, and 360° Spielraum für Ideen, an art gallery and performance space in Wuppertal". Trombonist Albert Mangelsdorff, although coming from a more classic background, also had great influence. He toured Asia, the United States, and South America and was one "finest trombonists in modern jazz". Alexander von Schlippenbach's Globe Unity Orchestra created a scandal at its debut in Berlin. In Germany some of the second generation free jazz players came from a more European music background, like Georg Gräwe, Theo Jörgensmann, or Hannes Bauer. In East Germany, trombonist Conny Bauer and drummer Günter Sommer spread free jazz in the Socialist bloc. Bauer "formed Doppelmoppel, a quartet of two trombones and two guitars" in 1982 and participated in the European Jazz Ensemble which celebrated its 20th Anniversary tour in 1996. In the UK saxophonist Evan Parker, who was highly influenced by John Coltrane, took on the role of Brötzmann for Britain. Guitarist Derek Bailey and trombonist Paul Rutherford also developed the British scene. Both Paul Rutherford and Evan Parker experimented with solo improvisation for extended periods of their careers. Slava/Viacheslav/Ganelin, from Soviet Lithuania, came out with a bang in the late 70's, playing with Vladimir Chekasin and percussionist Vladimir Tarasov. Leo Feigin of Leo Records produced dozens of their albums, as well of other musicians from the Eastern Bloc. In addition to the rise of free jazz musicians in Europe, during the 1960s there was a "sudden surge in critical interest...the emergence of a new cohort of critics – young intellectuals such as Yves Buin, Michel Le Bris, Guy Kopelowicz and