Chapter 12 Free Form, Avant-Garde

© 2009 McGraw-Hill All Rights Reserved 2 The Process Free form - also known as Free Improvisation –Sheds the structures of harmonic repetition and rhythmic regularity –Players react to one another without restrictions Finished product less important than the process Style can be compared to abstract art

© 2009 McGraw-Hill All Rights Reserved 3 Score for Free-form demonstration 9 “Dialogue”

© 2009 McGraw-Hill All Rights Reserved 4 Justification Seeds of free playing have always existed –The nature of improvisation places emphasis on spontaneity –Every jazz performance contains improvisation Success of Free-form rests on the compositional strength of the performers Improvisation takes the dominant role

© 2009 McGraw-Hill All Rights Reserved 5 Ornette Coleman (b. 1930) One of the most controversial free jazz players Capable of playing melodically and rhythmically, and swinging Feels no obligation to contain or extend musical ideas to fit a certain preset situation

© 2009 McGraw-Hill All Rights Reserved 6 Ornette Coleman -continued- First player to move all the way to harmonic freedom Frequently played without piano Not locked into Western tuning conventions Pursuit of new ideas a trademark Listen to “Faces and Places” CD2, track 7

© 2009 McGraw-Hill All Rights Reserved 7 Cecil Taylor (b. 1929) Background included conservatory training and an interest in contemporary European compositional practices Considered an avant-garde expression of third stream Music can be appreciated by classical or jazz audience Concerts feature long uninterrupted compositions

© 2009 McGraw-Hill All Rights Reserved 8 Cecil Taylor -continued- Uses a variety of musical textures Fragmented and often percussive style Often easier to comprehend the whole rather than focus on the parts Listening to Taylor requires patience and stamina

© 2009 McGraw-Hill All Rights Reserved 9 Coltrane Legacy Short career but great influence Seamless transition to freer playing Modal approach was a springboard Melodies centered on higher harmonics Tunes often move from familiar to unfamiliar e.g. “My Favorite Things” Listen to “A Love Supreme” CD 2, track 8

© 2009 McGraw-Hill All Rights Reserved 10 Chicago Style Free Jazz First notable artist was Sun Ra ( ) –First composer to employ collective improvisation in a big band –Controversial posture as a musical cosmic scientist/philosopher

© 2009 McGraw-Hill All Rights Reserved 11 Other Chicago free players AACM (Association for the Advancement of Creative Music) Art Ensemble of Chicago –Emphasis on creative interaction –Wide range of tone colors –Exploration of sound structures –Suspension of fixed rhythmic support World Saxophone Quartet

© 2009 McGraw-Hill All Rights Reserved 12 Anthony Braxton (b. 1945) Member of AACM in the 60s Blended non-jazz compositional ideas with more traditional idioms Music sometimes more measured and classical in approach Some compositions based on philosophical theories

© 2009 McGraw-Hill All Rights Reserved 13 Contemporary Avant-garde Greg Osby, alto saxophone –Prominent younger free player –Forward looking as means of finding an individual voice Henry Threadgill, composer –Also challenges neoclassicism in jazz –Iconoclast ideas and philosophy –Pushes the boundaries of creativity

© 2009 McGraw-Hill All Rights Reserved 14 The Free jazz controversy Wide range of opinions and acceptance of free jazz –It has managed to maintain a faithful audience Seeks to redefine itself Players thrive on controversy The listener must decide to accept or not –Here the definition of jazz becomes subjective