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706:, in which a simple spiritual-like melody is gradually shifted and distorted through Ayler's unique improvisatory interpretation. Ultimately, Ayler serves as an important example of many ways which free jazz could be interpreted, as he often strays into more tonal areas and melodies while exploring the timbral and textural possibilities within his melodies. In this way, his free jazz is built upon both a progressive attitude towards melody and timbre as well as a desire to examine and recontextualize the music of the past.
909:. As the name may imply, musicians during this time would perform in private homes and other unconventional spaces. The status of free jazz became more complex, as many musicians sought to bring in different genres into their works. Free jazz no longer necessarily indicated the rejection of tonal melody, overarching harmonic structure, or metrical divide, as laid out by Coleman, Coltrane, and Taylor. Instead, the free jazz that developed in the 1960s became one of many influences, including pop music and world music.
920:
strain. The pattern may occur several times in a long selection, giving listeners pivotal points to cling to. At this time, listeners accept this – they can recognize the selection while also appreciating the freedom of the player in other portions. Players, meanwhile, are tending toward retaining a key center for the seemingly free parts. It is as if the musician has learned that entire freedom is not an answer to expression, that the player needs boundaries, bases, from which to explore.
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674:(Blue Note, 1966) Taylor marked his transition to free jazz, as his compositions were composed almost without notated scores, devoid of conventional jazz meter, and harmonic progression. This direction influenced by drummer Andrew Cyrille, who provided rhythmic dynamism outside the conventions of bebop and swing Taylor also began exploring classical avant-garde, as in his use of prepared pianos developed by composer John Cage.
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1012:. John Litweiler regards it favourably in comparison because of its "free motion of tempo (often slow, usually fast); of ensemble density (players enter and depart at will); of linear movement". Ekkehard Jost places it in the same company and comments on "extraordinarily intensive give-and-take by the musicians" and "a breadth of variation and differentiation on all musical levels".
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427:, street cries, and jubilees (part of the "return to the roots" element of free jazz). This suggests that perhaps the movement away from tonality was not a conscious effort to devise a formal atonal system, but rather a reflection of the concepts surrounding free jazz. Jazz became "free" by removing dependence on chord progressions and instead using
419:"although they were freeing up certain strictures of bebop, were in fact each developing new structures of composition." Some forms use composed melodies as the basis for group performance and improvisation. Free jazz practitioners sometimes use such material. Other compositional structures are employed, some detailed and complex.
662:, his album released in 1956 for Transition showed ties to traditional jazz, albeit with an expanded harmonic vocabulary. But the harmonic freedom of these early releases would lead to his transition into free jazz during the early 1960s. Key to this transformation was the introduction of saxophonist
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chords. When improvisation occurred, it was founded on the notes in the chords. Free jazz almost by definition is free of such structures, but also by definition (it is, after all, "jazz" as much as it is "free") it retains much of the language of earlier jazz playing. It is therefore very common to
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marked a radical step beyond his more conventional early work. On these albums, he strayed from the tonal basis that formed the lines of his earlier albums and began truly examining the possibilities of atonal improvisation. The most important recording to the free jazz movement from
Coleman during
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the freer aspects of jazz, at least, have reduced the freedom acquired in the sixties. Most successful recording artists today construct their works in this way: beginning with a strain with which listeners can relate, following with an entirely free portion, and then returning to the recognizable
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was one of the essential composers and performers during the beginning period of free jazz. He began his career as a bebop tenor saxophonist in
Scandinavia, and had already begun pushing the boundaries of tonal jazz and blues to their harmonic limits. He soon began collaborating with notable free
422:
The breakdown of form and rhythmic structure has been seen by some critics to coincide with jazz musicians' exposure to and use of elements from non-Western music, especially
African, Arabic, and Indian. The atonality of free jazz is often credited by historians and jazz performers to a return to
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used harsh overblowing or other extended techniques to elicit unconventional sounds from their instruments. Like other forms of jazz it places an aesthetic premium on expressing the "voice" or "sound" of the musician, as opposed to the classical tradition in which the performer is seen more as
332:
Some jazz musicians resist any attempt at classification. One difficulty is that most jazz has an element of improvisation. Many musicians draw on free jazz concepts and idioms, and free jazz was never entirely distinct from other genres, but free jazz does have some unique characteristics.
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have existed. Although musicians and critics claim it is innovative and forward-looking, it draws on early styles of jazz and has been described as an attempt to return to primitive, often religious, roots. Although jazz is an
American invention, free jazz musicians drew heavily from
788:(1965) was steeped in what could be referred to as a new black mysticism. But Sun Ra's penchant for nonconformity aside, he was along with Coleman and Taylor an integral voice to the formation of new jazz styles during the 1960s. As evidenced by his compositions on the 1956 record
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contained one improvised section in a style unrelated to the piece's melody or chord structure. His contributions were primarily in his efforts to bring back collective improvisation in a music scene that had become dominated by solo improvisation as a result of big bands.
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Many critics, particularly at the music's inception, suspected that abandonment of familiar elements of jazz pointed to a lack of technique on the part of the musicians. By 1974, such views were more marginal, and the music had built a body of critical writing.
841:. As result, Sun Ra proved to be one of the first jazz musicians to explore electronic instrumentation, as well as displaying an interest in timbral possibilities through his use of progressive and unconventional instrumentation in his compositions.
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demonstrate the political implications of the word "free" in context of free jazz. Thus many consider free jazz to be not only a rejection of certain musical credos and ideas, but a musical reaction to the oppression and experience of
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Coltrane augmented his quartet with six horn players, including Archie Shepp and
Pharoah Sanders. The composition includes free-form solo improvisation interspersed with sections of collective improvisation reminiscent of Coleman's
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jazz musicians, including Cecil Taylor in 1962. He pushed the jazz idiom to its absolute limits, and many of his compositions bear little resemblance to jazz of the past. Ayler's musical language focused on the possibilities of
784:'s music could be classified as free jazz, especially his work from the 1960s, although Sun Ra said repeatedly that his music was written and boasted that what he wrote sounded more free than what "the freedom boys" played.
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and ethnic music traditions from around the world. Sometimes they played
African or Asian instruments, unusual instruments, or invented their own. They emphasized emotional intensity and sound for its own sake, exploring
639:, recorded in A&R Studios in New York in 1960. It marked an abrupt departure from the highly structured compositions of his past. Recorded with a double quartet separated into left and right channels,
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still explores the free jazz lessons, collaborating with pianist François
Tusques in experimental films : Birth of Free Jazz, Don Cherry... these topics considered through a pleasant and poetic way.
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Magazine, Coltrane said he felt indebted to
Coleman. While Coltrane's desire to explore the limits of solo improvisation and the possibilities of innovative form and structure was evident in records like
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Many critics have drawn connections between the term "free jazz" and the
American social setting during the late 1950s and 1960s, especially the emerging social tensions of racial integration and the
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Although free jazz is widely considered to begin in the late 1950s, there are compositions that precede this era that have notable connections to the free jazz aesthetic. Some of the works of
1023:'s first quintet, participated in the 1960s in one of the first expressions of free jazz in France. As a painter, he then experimented plastic transpositions of Ornette Coleman's approach.
988:(saxophone), Kent Carter (bass) and Oliver Johnson (drums) who lived in France during the free jazz period in the 1960s, improvise Albert Ayler's 1965 composition "Spirits Rejoice."
863:
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Sklower, Jedediah (2006). Free Jazz, la catastrophe féconde.Page 147 Une histoire du monde éclaté du jazz en France (1960-1982). Collection logiques sociales. Paris: Harmattan.
1027:, painted in 1973, used architectural structures in correspondence to the classical chords of standard harmonies confronted with an unrestrained all over painted improvisation.
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Outside of New York, a number of significant free jazz scenes appeared in the 1960s. They often gave birth to collectives. In
Chicago, numerous artists were affiliated with the
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794:, Sun Ra's early work employed a typical bop style. But he soon foreshadowed the free jazz movements with compositions like "A Call for All Demons" off of the 1955–57 record
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in Los Angeles. Although they did not organize as formally, a notable number of free jazz musicians were also active in Albert Ayler's hometown of Cleveland. They included
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Calkins, Caroll C.; Balaban, Priscilla B.; Kelleher, Mary; Latham, Frank B.; Conefrey, Rosemarie; Huber, Robert V.; Pace, Georgea A.; Woodward, Robert J., eds. (1975).
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rejected pre-written chord changes, believing that freely improvised melodic lines should serve as the basis for harmonic progression. His first notable recordings for
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was Canada's most notable early free jazz outfit. Outside of North America, free jazz scenes have become established in Europe and Japan. Alongside the aforementioned
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experimented with a form of free jazz (and often big-band free jazz) that fused experimental improvisation with African rhythms and melodies. American musicians like
800:, which combines atonal improvisation with Latin-inspired mambo percussion. His period of fully realized free jazz experimentation began in 1965, with the release of
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1104:, with an ever more distant relationship to jazz tradition. Specifically Brötzmann has had a significant impact on the free jazz players of the United States.
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with its collective improvisation, as well as African music. Interest in ethnic music resulted in the use of instruments from around the world, such as
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describes a "Modern Creative" genre, in which "musicians may incorporate free playing into structured modes—or play just about anything." He includes
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brought a more aggressive, cacophonous texture to Coleman's work, and the record's title would provide the name for the nascent free jazz movement.
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that had been played before them was too limiting, and became preoccupied with creating something new. The term "free jazz" was drawn from the 1960
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Dictionnaire du jazz, Sous la direction de Philippe Carles, Jean-Louis Comolli et André Clergeat. Éditions Robert Laffont, coll. "Bouquins", 1994
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998:'s 1964 film with a soundtrack of group improvisations recorded by an augmented version of Albert Ayler's group and released as the album
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that developed in the late 1950s and early 1960s, when musicians attempted to change or break down jazz conventions, such as regular
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The ambiguity of free jazz presents problems of definition. Although it is usually played by small groups or individuals, free jazz
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was also exploring the possibilities of avant-garde free jazz. A classically trained pianist, Taylor's main influences included
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in 1962 because they encouraged more progressive musical language, such as tone clusters and abstracted rhythmic figures. On
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The free jazz movement received its biggest impetus when Coleman moved from the west coast to New York City and was signed to
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were among the most well-known early European free jazz performers. European free jazz can generally be seen as approaching
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effects. Yet amidst Ayler's progressive techniques, he shows an attachment for simple, rounded melodies reminiscent of
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with chord changes. In free jazz, the dependence on a fixed and pre-established form is eliminated, and the role of
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516:", "Digression", and "Descent into the Maelstrom" exhibit the use of techniques associated with free jazz, such as
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751:. The piece sees Coltrane exploring the timbral possibilities of his instrument, using over-blowing to achieve
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collective improvisation and lack of discrete chord changes. Other notable examples of proto-free jazz include
1159:. Some international jazz musicians have come to North America and become immersed in free jazz, most notably
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tones. Coltrane continued to explore the avant-garde in his following compositions, including such albums as
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in 1958. These albums do not follow typical 32-bar form and often employ abrupt changes in tempo and mood.
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improvisation and extended saxophone technique, creating squawks and honks with his instrument to achieve
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uses free jazz as a direct response to complex attitudes towards African-American music. Exhibited at
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976:(meaning "off-screen") addresses the political context of free jazz in the 1960s, as an extension of
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Rejection of the bop aesthetic was combined with a fascination with earlier styles of jazz, such as
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2003:
Krajewsk, "Stan Douglas, 15 September 2007 — 6 January 2008, Staatsgalerie & Wurttembergischer"
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and pulsed rhythms, usually in 4/4 or (less often) 3/4. Free jazz retains pulsation and sometimes
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By the 1970s, the setting for avant-garde jazz was shifting to New York City. Arrivals included
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Creative Improvised Music: An International Bibliography of the Jazz Avant-Garde, 1959-Present
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Free Jazz, la catastrophe féconde. Une histoire du monde éclaté du jazz en France (1960-1982)
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in 1965, Coltrane demonstrated his appreciation for the new wave of free jazz innovators. On
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536:'s 1953 "Fugue". It can be argued, however, that these works are more representative of
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1004:. Critics have compared the album with the key free jazz recordings: Ornette Coleman's
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454:'s interpretation of pygmy yodeling. Ideas and inspiration were found in the music of
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in this genre, which continues "the tradition of the '50s to '60s free-jazz mode".
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1515:. Vol. 1 (2nd ed.). New York: Grove's Dictionaries. pp. 848–849.
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and is one of his few works to directly address race. Four American musicians,
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of activist-supported black voter registration, and the free alternative black
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Earlier jazz styles typically were built on a framework of song forms, such as
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1743:. Vol. 1 (2nd ed.). New York: Grove's Dictionaries. pp. 96–97.
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1979:(6th ed.). Dubuque, IA: William C. Brown, College Division. p.
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of Argentina (this influence is more evident in Barbieri's early work).
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2122:"Free Jazz/Québec Libre: Le Quatuor de Jazz Libre du Québec, 1967-1975"
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Point from which creation begins: The Black Artists' Group of St. Louis
956:, Don Cherry, and Sun Ra as musicians who have employed this approach.
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A Power Stronger Than Itself: The AACM and American Experimental Music
307:". Others have used "modern jazz", "creative music", and "art music".
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658:, who prove key to Taylor's later unconventional uses of the piano.
2187:"Omnidirectional Projection: Teruto Soejima and Japanese Free Jazz"
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2204:"How South Africa's Blue Notes Helped Invent European Free Jazz"
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and texture over meter and harmony, employing a wide variety of
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This is Our Music: Free Jazz, the Sixties, and American Culture
38:
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The John Coltrane companion : five decades of commentary
1234:. Reprint of the 1970 edition, New York: World Publishing Co.
2111:
Clifford Allen, The New York City Jazz Record p10, June 2011
1971:
Tanner, Paul O. W.; Maurice Gerow; David W. Megill (1988) .
702:, including his often recorded and most famous composition,
2140:
Northern Sun, Southern Moon: Europe's Reinvention of Jazz
1891:
The Dark Tree: Jazz and the Community Arts in Los Angeles
477:. Many argue those recent phenomena such as the landmark
1801:. Lawrence Hill Books, Chicago Review Press. p. 28.
2229:
1666:. Philadelphia: University of Pennsylvania. p. 62.
866:, founded in 1965. In St. Louis, the multidisciplinary
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Jazz 101: A Complete Guide to Learning and Loving Jazz
1916:"The Blistering Cosmic Music of The Black Unity Trio"
1605:. Oxford, England: Oxford University Press. pp.
1540:. New York: Cambridge University Press. p. 207.
1511:
Robinson, J. Bradford (2002). Kernfeld, Barry (ed.).
1310:
Fire Music: A Bibliography of the New Jazz, 1959-1990
864:
Association for the Advancement of Creative Musicians
423:
non-tonal music of the nineteenth century, including
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give an impression of rhythm that moves like a wave.
1490:(3rd ed.). New York: Norton. pp. 494–497.
693:, which he explores via his more avant-garde style.
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1107:Japan's first free jazz musicians included drummer
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69:. Unsourced material may be challenged and removed.
2155:"Peter Brötzmann, legend of free jazz, dies at 82"
1797:Berendt, Joachim-Ernst; Huesmann, GĂĽnther (2009).
1687:
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1271:Avant-Garde Jazz Musicians: Performing "Out There"
1255:. Collection logiques sociales. Paris: Harmattan.
1239:
915:, Maurice Gerow, and David Megill have suggested,
2102:Jean-Max Albert, Peinture, ACAPA, AngoulĂŞme, 1982
1135:. A relatively active free jazz scene behind the
285:. Musicians during this period believed that the
2012:Milroy, "These artists know how to rock", p. R7
1799:The Jazz Book: From Ragtime to the 21st Century
1739:Kernfeld, Barry (2002). Kernfeld, Barry (ed.).
1224:Rivelli, Pauline; Levin, Robert, eds. (1979).
876:Union of God's Musicians and Artists Ascension
4493:
3687:
2245:
874:founded the Pan Afrikan Peoples Arkestra and
8:
1389:"Free Jazz: The Jazz Revolution of the '60s"
1657:
1655:
1425:
1423:
1367:Free Jazz: A Research and Information Guide
813:These records placed a musical emphasis on
696:One of Ayler's key free jazz recordings is
4603:
4500:
4486:
4478:
4034:
3694:
3680:
3672:
3283:
3043:
2252:
2238:
2230:
1681:
1679:
1677:
1675:
1673:
1481:
1479:
1477:
870:was active between 1968 and 1972. Pianist
140:
1966:
1964:
1628:
1626:
1536:Cooke, Mervyn; Horn, David, eds. (2002).
728:, his work owed more to the tradition of
342:expressing the thoughts of the composer.
265:in the early to mid-1970s, is a style of
129:Learn how and when to remove this message
1592:
1590:
1588:
1586:
1584:
1582:
1400:
1273:. Iowa City: University Of Iowa Press.
1170:South African artists, including early
483:decision in 1954, the emergence of the
2064:Free Jazz (Studies in Jazz Research 4)
2049:The Freedom Principle: Jazz After 1958
1635:"Modern Creative Music Genre Overview"
1432:The Freedom Principle: Jazz After 1958
1329:Flow, Gesture, and Spaces in Free Jazz
1350:. Nyack, NY: African Diaspora Press.
1238:Sinclair, John; Robert Levin (1971).
1006:Free Jazz: A Collective Improvisation
587:, Cecil Taylor, Ornette Coleman, and
300:Free Jazz: A Collective Improvisation
33:Free Jazz: A Collective Improvisation
7:
4943:List of experimental music festivals
1202:integrated elements of the music of
368:but without regular meter. Frequent
303:. Europeans tend to favor the term "
67:adding citations to reliable sources
2153:Beaumont-Thomas, Ben (2023-06-23).
1096:, saxophonist and bass clarinetist
905:, beginning the period of New York
852:The title track of Charles Mingus'
30:For the Ornette Coleman album, see
4948:List of electronic music festivals
1943:. New York: W.W. Norton. pp.
1893:. University of California Press.
25:
3607:Album covers of Blue Note Records
1456:"A Fireside Chat with Marc Ribot"
1312:. Westport, CT: Greenwood Press.
803:The Heliocentric Worlds of Sun Ra
786:The Heliocentric Worlds of Sun Ra
512:in the late 1940s, particularly "
3655:
2226:by Billy Bob Hargus (July 1996).
1741:The New Grove Dictionary of Jazz
1711:"Encyclopedia of Jazz Musicians"
1513:The New Grove Dictionary of Jazz
1246:. New York: World Publishing Co.
972:in 1992, his video installation
773:, as well as collaborating with
360:Other forms of jazz use regular
43:
4882:Experimental musical instrument
1868:. University of Chicago Press.
1843:. University of Chicago Press.
1538:The Cambridge companion to jazz
1058:Quatuor de Jazz Libre du Québec
269:or an experimental approach to
54:needs additional citations for
4953:List of experimental musicians
2987:Institutions and organizations
1434:. Da Capo Press. p. 158.
924:Tanner, Gerow and Megill name
383:structures, usually cycles of
357:is correspondingly increased.
1:
4927:Electroacoustic improvisation
2684:Cool jazz and West Coast jazz
1914:Crépon, Pierre (March 2020).
1694:. London: Continuum. p.
633:this era, however, came with
351:32-bar AABA popular song form
1766:"La Passe Dangereuse (1963)"
1488:The Music of Black Americans
1001:New York Eye and Ear Control
992:New York Eye and Ear Control
736:. But with the recording of
542:contemporary classical music
540:jazz with its references to
2224:The Real Godfathers of Punk
1331:. Heidelberg, D: Springer.
480:Brown v. Board of Education
5020:
4440:Situationist International
1772:. Schirmer Books. p.
1768:. In Woideck, Carl (ed.).
1717:. Jazz.com. Archived from
1269:Such, David Glen (1993).
1251:Sklower, Jedediah (2006).
1228:. New York: Da Capo Press.
1210:, and the Middle East for
29:
3651:
3013:See Template: Jazz theory
2037:by Scott Yanow, Allmusic.
1973:"Free Form — Avant Garde"
1864:Looker, Benjamin (2004).
1839:Lewis, George E. (2009).
1820:. Oxford University Press
1327:Mazzola, Guerino (2008).
825:, including the electric
797:Angels and Demons at Play
717:In a 1963 interview with
623:The Shape of Jazz to Come
604:Tomorrow Is the Question!
379:Previous jazz forms used
230:
218:
183:late 1950s, United States
2142:. Yale University Press.
2047:Litweiler, John (1984).
1764:Quersin, Benoit (1998).
1486:Southern, Ellen (1997).
1430:Litweiler, John (1984).
1139:produced musicians like
4703:Intelligent dance music
3950:Experimental literature
2062:Jost, Ekkehard (1975).
1935:DeVeaux, Scott (2009).
1889:Isoardi, Steve (2006).
1561:Jost, Ekkehard (1974).
1365:Schwartz, Jeff (2018).
1292:Szwed, John F. (2000).
1232:Jazz & Pop Magazine
1214:-influenced free jazz.
1019:, as trumpet player of
855:Pithecanthropus Erectus
460:Musica Elettronica Viva
4216:Second Viennese School
3847:Neue Slowenische Kunst
3718:Abstract expressionism
2138:Heffley, Mike (2005).
1686:Shipton, Alyn (2001).
1662:Anderson, Ian (2007).
1296:. New York: Hyperion.
1053:
1045:
922:
849:
823:percussion instruments
819:electronic instruments
714:
556:
404:
396:phrases in this music.
4974:1960s fads and trends
4323:Theatre of the Absurd
4246:Twelve-tone technique
4125:Electroacoustic music
2021:Gale, "Stan Douglas:
1690:A New History of Jazz
1565:. Universal Edition.
1226:Giants of Black Music
1056:Founded in 1967, the
1051:
1043:
917:
847:
712:
629:Change of the Century
554:
475:civil rights movement
402:
4887:Experimental luthier
4597:Experimental popular
4308:Postdramatic theatre
4293:Experimental theatre
3830:Multidimensional art
3401:Bibliography of jazz
3181:Continental European
2066:. Universal Edition.
1410:The Story of America
1242:Music & Politics
1008:and John Coltrane's
63:improve this article
4808:Extended techniques
3810:Lyrical Abstraction
3642:Straight, No Chaser
3431:Straight-ahead jazz
2888:Winter & Winter
2337:French horn in jazz
2025:and others", p. 363
1601:The History of Jazz
1597:Gioia, Ted (2011).
1346:Gray, John (2019).
1308:Gray, John (1991).
1113:Masayuki Takayanagi
994:is Canadian artist
978:black consciousness
940:, Pharoah Sanders,
868:Black Artists Group
544:techniques such as
524:written in 1948 by
4989:Free improvisation
4984:Experimental music
4912:Sound installation
4759:Free improvisation
4651:Deconstructed club
4509:Experimental music
4423:Postmodernist film
4328:Theatre of Cruelty
4211:Rock in Opposition
4152:Free improvisation
3795:Post-Impressionism
3728:Art & Language
3586:West African music
3411:British dance band
3201:European free jazz
3174:British dance band
2667:Musicians by genre
2447:Free improvisation
2191:Point of Departure
2126:Point of Departure
1818:Grove Music Online
1812:Kernfield, Barry.
1462:. 21 February 2004
1153:Vyacheslav Ganelin
1129:Motoharu Yoshizawa
1102:free improvisation
1054:
1046:
850:
715:
610:Something Else!!!!
557:
487:in 1961, the 1963
405:
305:free improvisation
271:jazz improvisation
239:free improvisation
4961:
4960:
4897:Progressive music
4877:Data sonification
4802:
4801:
4661:Experimental rock
4619:Avant-garde metal
4475:
4474:
4465:Russian symbolism
4450:Socialist realism
4288:Experimental film
4254:
4253:
3960:Hungry generation
3935:Conceptual poetry
3790:Neo-Impressionism
3669:
3668:
3542:New Orleans blues
3389:
3388:
3332:
3331:
2906:Beaches (Toronto)
2317:Swing performance
2210:, September 2020.
2128:, September 2020.
1954:978-0-393-97880-3
1616:978-0-19-539970-7
1412:. United States:
1194:, John Coltrane,
620:. Albums such as
573:Eugene Chadbourne
559:Keith Johnson of
256:
255:
244:experimental rock
149:Stylistic origins
139:
138:
131:
113:
16:(Redirected from
5011:
4999:Jazz terminology
4936:Events and lists
4860:Related concepts
4784:Progressive jazz
4656:Experimental pop
4614:Avant-garde jazz
4604:
4575:Musique concrete
4558:Acousmatic music
4502:
4495:
4488:
4479:
4369:Russian Futurism
4313:Remodernist film
4231:Stochastic music
4186:Musique concrète
4164:Microtonal music
4142:Experimental pop
4135:Industrial music
4130:Electronic music
4035:
3857:Nouveau réalisme
3765:Grosvenor School
3696:
3689:
3682:
3673:
3660:
3659:
3426:Continental jazz
3319:Washington, D.C.
3284:
3186:Czech and Slovak
3044:
2828:India Navigation
2526:Progressive jazz
2380:Avant-garde jazz
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2185:Crépon, Pierre.
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2120:Crépon, Pierre.
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1163:from Brazil and
1157:Vladimir Tarasov
1149:Zbigniew Seifert
1131:, and trumpeter
1117:Yosuke Yamashita
1109:Masahiko Togashi
1090:Misha Mengelberg
1082:François Tusques
964:Canadian artist
928:, Cecil Taylor,
888:Black Unity Trio
446:'s West African
390:altered dominant
347:twelve-bar blues
267:avant-garde jazz
234:Avant-garde jazz
188:Derivative forms
180:Cultural origins
171:avant-garde jazz
141:
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4917:Sound sculpture
4855:
4836:Prepared guitar
4821:Circuit bending
4798:
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4591:
4553:Electroacoustic
4524:
4521:classical music
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4332:
4318:Structural film
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4250:
4105:Aleatoric music
4093:
4024:
3912:
3906:
3867:Performance art
3706:
3700:
3670:
3665:
3662:Jazz portal
3654:
3647:
3628:The Jazz Singer
3595:
3574:Novelty ragtime
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3385:
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3348:
3328:
3282:
3249:
3140:
3085:
3040:Regional scenes
3035:
2970:
2892:
2818:Groove Merchant
2808:Flying Dutchman
2756:
2718:
2662:
2584:
2516:Orchestral jazz
2496:Mainstream jazz
2484:Afro-Cuban jazz
2366:
2275:Outline of jazz
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1414:Reader's Digest
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1406:
1402:
1397:
1387:Levin, Robert,
1381:
1364:
1358:
1345:
1339:
1326:
1320:
1307:
1263:
1250:
1237:
1223:
1220:
1218:Further reading
1200:Pharoah Sanders
1066:Peter Brötzmann
1064:, saxophonists
1038:
1029:Jean-Max Albert
1017:Jean-Max Albert
982:George E. Lewis
962:
954:Anthony Braxton
872:Horace Tapscott
821:and innovative
699:Spiritual Unity
672:Unit Structures
652:Thelonious Monk
595:Ornette Coleman
555:Coleman in 2009
526:Bob Graettinger
510:Lennie Tristano
506:
498:black Americans
493:Freedom Schools
413:Ornette Coleman
411:commented that
403:Pharoah Sanders
388:hear diatonic,
335:Pharoah Sanders
330:
328:Characteristics
295:Ornette Coleman
214:Regional scenes
209:
175:
135:
124:
118:
115:
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28:
23:
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5004:Outsider music
5001:
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4848:
4843:
4841:Prepared piano
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4831:Plunderphonics
4828:
4826:Frippertronics
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4430:Late modernism
4427:
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4410:
4405:
4403:Neo-minimalism
4400:
4398:Postminimalism
4395:
4390:
4385:
4380:
4379:
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4377:
4376:
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4356:
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4344:Constructivism
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4303:Poetic realism
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4236:Textural music
4233:
4228:
4226:Spectral music
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4191:New Complexity
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3635:Round Midnight
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2623:Percussionists
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2546:Spiritual jazz
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2268:General topics
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2218:External links
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2202:Orlov, Piotr.
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1460:All About Jazz
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1416:. p. 399.
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1230:Articles from
1219:
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1196:Milford Graves
1180:Chris McGregor
1123:, saxophonist
1121:Masahiko Satoh
1098:Willem Breuker
1037:
1034:
1015:French artist
961:
958:
946:Alice Coltrane
848:Sun Ra in 1973
809:The Magic City
725:A Love Supreme
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489:Freedom Summer
485:Freedom Riders
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4418:Postmodernism
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4374:Cubo-Futurism
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3852:Nonconformism
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3835:Neoplasticism
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3238:Flamenco jazz
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1168:
1166:
1165:Gato Barbieri
1162:
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1146:
1145:Tomasz Stańko
1142:
1141:Janusz Muniak
1138:
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1130:
1126:
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1110:
1105:
1103:
1099:
1095:
1091:
1087:
1086:Fred Van Hove
1083:
1079:
1075:
1072:, trombonist
1071:
1067:
1063:
1059:
1052:Tomasz Stańko
1050:
1042:
1035:
1033:
1030:
1026:
1022:
1018:
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1007:
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987:
986:Douglas Ewart
983:
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967:
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951:
950:Wayne Shorter
947:
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939:
935:
934:Keith Jarrett
931:
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910:
908:
904:
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895:Arthur Blythe
891:
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884:Norman Howard
881:
880:Charles Tyler
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791:Sounds of Joy
787:
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656:Horace Silver
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539:
535:
534:Jimmy Giuffre
531:
527:
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522:City of Glass
519:
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511:
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430:
426:
425:field hollers
420:
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401:
397:
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386:
382:
377:
375:
371:
367:
363:
358:
356:
355:improvisation
352:
348:
343:
340:
339:John Coltrane
336:
327:
325:
323:
318:
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306:
302:
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296:
292:
288:
284:
283:chord changes
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119:December 2018
111:
108:
104:
101:
97:
94:
90:
87:
83:
80: –
79:
75:
74:Find sources:
68:
64:
58:
57:
52:This article
50:
46:
41:
40:
35:
34:
19:
4763:
4599:music genres
4519:contemporary
4283:Epic theatre
4146:
4120:Atonal music
3955:Flarf poetry
3945:Ego-Futurism
3743:Proto-Cubism
3653:
3640:
3633:
3626:
3622:(miniseries)
3619:
3611:
3581:Sophisti-pop
3011:
3002:Jazz royalty
2992:Jazz funeral
2788:Contemporary
2679:Chamber jazz
2633:Saxophonists
2603:Clarinetists
2575:Third stream
2436:
2412:Chamber jazz
2312:Scat singing
2207:
2198:
2193:, June 2019.
2190:
2181:
2170:. Retrieved
2159:The Guardian
2158:
2148:
2139:
2133:
2125:
2116:
2107:
2098:
2081:
2072:
2063:
2057:
2048:
2042:
2030:
2022:
2017:
2008:
1999:
1976:
1938:
1930:
1919:
1909:
1890:
1884:
1865:
1859:
1840:
1834:
1822:. Retrieved
1817:
1807:
1798:
1792:
1769:
1759:
1740:
1734:
1723:. Retrieved
1719:the original
1714:
1709:Allen, Jim.
1704:
1689:
1663:
1642:. Retrieved
1638:
1600:
1562:
1556:
1537:
1531:
1512:
1506:
1487:
1464:. Retrieved
1459:
1450:
1431:
1409:
1403:
1369:. New York:
1366:
1347:
1328:
1309:
1293:
1270:
1252:
1241:
1231:
1225:
1188:Dudu Pukwana
1184:Louis Moholo
1176:Zim Ngqawana
1172:Dollar Brand
1169:
1161:Ivo Perelman
1137:iron curtain
1111:, guitarist
1106:
1078:Derek Bailey
1076:, guitarist
1062:Joe Harriott
1055:
1044:Dollar Brand
1036:In the world
1024:
1021:Henri Texier
1014:
1009:
1005:
999:
996:Michael Snow
991:
990:
984:(trombone),
973:
966:Stan Douglas
963:
930:John Klemmer
923:
918:
911:
903:Mark Dresser
899:James Newton
892:
861:
853:
851:
837:, harp, and
807:
801:
795:
789:
785:
779:
775:John Tchicai
769:
764:Kulu Se Mama
762:
757:
748:
743:
737:
723:
718:
716:
713:Archie Shepp
703:
697:
695:
678:Albert Ayler
676:
671:
668:Sunny Murray
666:and drummer
660:Jazz Advance
659:
648:Cecil Taylor
645:
640:
634:
627:
621:
615:
608:
602:
599:Contemporary
593:
589:Ray Anderson
581:Bill Frisell
569:Henry Kaiser
558:
538:third stream
521:
507:
478:
472:
468:
448:talking drum
444:Ed Blackwell
437:
435:structures.
433:polyrhythmic
421:
417:Albert Ayler
406:
378:
359:
344:
331:
309:
298:
262:
258:
257:
226:Other topics
161:experimental
125:
116:
106:
99:
92:
85:
73:
61:Please help
56:verification
53:
32:
4994:Jazz genres
4851:Turntablism
4794:Witch house
4754:Drone metal
4543:Avant-garde
4435:Primitivism
4261:and theatre
4201:Noise music
4174:Drone music
4005:Slam poetry
3892:Suprematism
3877:Process art
3805:Incoherents
3800:Color Field
3775:Divisionism
3723:Art Nouveau
3703:Avant-garde
3564:Quiet storm
3527:Contradanza
3309:New Orleans
3304:Kansas City
3107:Jazz mugham
3102:Azerbaijani
3026:Second line
3021:Rare groove
3007:Jazz theory
2997:Jazz poetry
2982:Contrafacts
2966:Saint Lucia
2946:New Orleans
2878:Strata-East
2853:MPS Records
2783:Cobblestone
2704:Smooth jazz
2694:Jazz fusion
2638:Trombonists
2551:Sacred jazz
2536:Smooth jazz
2469:Jazz fusion
2352:Jazz violin
2332:Jazz guitar
2307:Jam session
2280:Jazz (word)
1644:18 December
1466:18 December
1115:, pianists
1094:Han Bennink
1080:, pianists
1074:Conny Bauer
1070:Evan Parker
974:Hors-champs
970:documenta 9
960:Other media
942:McCoy Tyner
938:Chick Corea
926:Miles Davis
913:Paul Tanner
831:Hammond B-3
770:Meditations
753:multiphonic
687:multiphonic
664:Jimmy Lyons
530:Stan Kenton
452:Leon Thomas
370:accelerando
317:world music
166:avant-garde
78:"Free jazz"
27:Music genre
4968:Categories
4922:Soundscape
4846:Scordatura
4816:3rd bridge
4779:Industrial
4744:Avant-funk
4686:noise rock
4641:Avant-punk
4636:Avant-prog
4624:Post-metal
4563:Tape music
4455:Surrealism
4393:Minimalism
4268:Cinéma pur
3913:and poetry
3911:Literature
3820:Minimalism
3711:Visual art
3549:Brass band
3537:Jump blues
3381:Ethno jazz
3344:Australian
3324:West Coast
3081:Zimbabwean
2921:Copenhagen
2843:Mainstream
2653:Violinists
2643:Trumpeters
2613:Guitarists
2521:Organ trio
2506:Modal jazz
2479:Latin jazz
2459:Gypsy jazz
2357:Vocal jazz
2342:Jazz piano
2172:2023-06-24
2051:. Da Capo.
1725:2014-04-22
1395:References
1192:Don Cherry
1127:, bassist
1092:, drummer
886:, and the
730:modal jazz
691:folk music
683:microtonal
585:Steve Lacy
466:movement.
462:, and the
429:polytempic
409:Marc Ribot
407:Guitarist
374:ritardando
297:recording
291:modal jazz
89:newspapers
4979:Free jazz
4902:Sound art
4789:Punk jazz
4764:Free jazz
4696:post-rock
4691:post-punk
4671:math rock
4666:krautrock
4631:Avant-pop
4531:Aleatoric
4460:Symbolism
4388:Modernism
4221:Serialism
4206:Post-rock
4147:Free jazz
4055:Free funk
4010:UltraĂsmo
3965:Imaginism
3940:Cyberpunk
3902:Vorticism
3705:movements
3517:Acid jazz
3374:Worldwide
3360:Brazilian
3157:Bulgarian
3119:Indo jazz
3069:Cape jazz
2956:North Sea
2911:Cape Town
2898:Festivals
2873:Riverside
2848:Milestone
2773:Blue Note
2768:Bethlehem
2752:post-1950
2724:Standards
2709:Soul jazz
2658:Vocalists
2618:Organists
2590:Musicians
2580:Trad jazz
2541:Soul jazz
2464:Jazz-funk
2452:Punk jazz
2442:Free funk
2437:Free jazz
2432:Folk jazz
2422:Dixieland
2417:Cool jazz
2407:Cape jazz
2322:Jazz bass
2285:Jazz band
2167:0261-3077
1563:Free Jazz
1371:Routledge
1133:Itaru Oki
1125:Kaoru Abe
1025:Free jazz
1010:Ascension
907:loft jazz
749:Free Jazz
744:Ascension
739:Ascension
641:Free Jazz
636:Free Jazz
601:included
577:Tim Berne
565:John Zorn
546:serialism
532:band and
514:Intuition
456:John Cage
440:dixieland
312:big bands
263:free form
259:Free jazz
249:punk jazz
205:post-rock
200:loft jazz
144:Free jazz
18:Free Jazz
4867:Cymatics
4774:Hyperpop
4739:Art rock
4734:Art punk
4676:neo-prog
4646:Biomusic
4607:By style
4517:Related
4408:Neo-Dada
4383:Lettrism
4364:Futurism
4278:Drop Art
4273:Dogme 95
4241:Totalism
4159:Futurism
4110:Ars nova
4038:By style
3985:Neoteric
3887:Rayonism
3840:De Stijl
3815:Mail art
3770:Devětsil
3522:Afrobeat
3436:Pre-1920
3421:Jazz Age
3337:Oceanian
3287:American
3261:Canadian
3145:European
3136:Japanese
3097:Armenian
3059:Malawian
3054:Ethiopia
2941:Montreux
2936:Montreal
2931:Monterey
2868:Prestige
2838:Landmark
2823:Impulse!
2803:ESP-Disk
2732:Pre-1920
2689:Hard bop
2628:Pianists
2608:Drummers
2598:Bassists
2531:Ska jazz
2474:Jazz rap
2400:Post-bop
2390:Hard bop
2290:Big band
2208:Bandcamp
1921:The Wire
1824:21 April
1814:"Sun Ra"
1639:AllMusic
1281:(cloth)
780:Much of
734:post-bop
646:Pianist
618:Atlantic
561:AllMusic
528:for the
385:diatonic
381:harmonic
4749:Ambient
4729:Art pop
4722:Related
4708:Neofolk
4681:no wave
4570:Minimal
4337:General
4196:No wave
3970:Imagism
3920:Acmeism
3872:Pop art
3862:Orphism
3780:Fauvism
3758:Bauhaus
3569:Ragtime
3554:Exotica
3510:Related
3416:Ragtime
3394:History
3299:Chicago
3266:Haitian
3245:Swedish
3233:Spanish
3216:Italian
3169:British
3164:Belgian
3131:Iranian
3047:African
2975:Culture
2951:Newport
2926:Jakarta
2916:Chicago
2813:Freedom
2511:Nu jazz
2395:Neo-bop
2023:Evening
1607:309–311
1289:(pbk.).
839:timpani
835:marimba
833:, bass
827:celeste
504:History
349:or the
195:No wave
103:scholar
4892:Fluxus
4769:Glitch
4585:Danger
4523:genres
4413:Neoism
4359:Fluxus
4259:Cinema
4098:Others
4000:Oulipo
3995:Oberiu
3882:Purism
3748:Cubism
3221:Polish
3211:German
3206:French
3191:Danish
3152:Balkan
3114:Indian
3074:Marabi
3031:Venues
2558:Stride
2501:Marabi
2491:M-Base
2372:Genres
2165:
2089:
2035:Review
1987:
1951:
1947:–432.
1897:
1872:
1847:
1780:
1747:
1613:
1569:
1544:
1519:
1494:
1438:
1377:
1354:
1335:
1316:
1300:
1285:
1277:
1259:
1204:Africa
1198:, and
1186:, and
901:, and
815:timbre
782:Sun Ra
767:, and
704:Ghosts
518:atonal
464:Fluxus
450:, and
366:swings
362:meters
322:timbre
281:, and
275:tempos
220:Europe
105:
98:
91:
84:
76:
4580:Noise
4548:Drone
4087:Metal
4030:Music
3600:Media
3559:Plugg
3532:Blues
3486:2010s
3481:2000s
3476:1990s
3471:1980s
3466:1970s
3461:1960s
3456:1950s
3451:1940s
3446:1930s
3441:1920s
3406:Blues
3276:Cuban
3196:Dutch
3124:Sitar
3090:Asian
2883:Verve
2747:1940s
2742:1930s
2737:1920s
2714:Swing
2674:Bebop
2563:Swing
2385:Bebop
1212:world
1208:India
394:blues
287:bebop
279:tones
261:, or
110:JSTOR
96:books
4872:Dada
4713:Wave
4349:Dada
4082:Punk
4077:Prog
4072:Rock
4060:Yass
4050:Jazz
4045:Funk
4020:Zaum
3620:Jazz
3613:Bird
3501:2022
3496:2021
3491:2020
3226:Yass
2961:Pori
2863:Muse
2699:Scat
2300:Jazz
2261:Jazz
2163:ISSN
2087:ISBN
1985:ISBN
1977:Jazz
1949:ISBN
1939:Jazz
1895:ISBN
1870:ISBN
1845:ISBN
1826:2014
1778:ISBN
1745:ISBN
1646:2018
1611:ISBN
1567:ISBN
1542:ISBN
1517:ISBN
1492:ISBN
1468:2018
1436:ISBN
1375:ISBN
1352:ISBN
1333:ISBN
1314:ISBN
1298:ISBN
1283:ISBN
1275:ISBN
1257:ISBN
1155:and
1119:and
806:and
732:and
719:Jazz
654:and
626:and
607:and
431:and
415:and
392:and
372:and
337:and
289:and
156:Jazz
82:news
4067:Pop
2858:MPS
2833:JMT
2798:ECM
2793:CTI
2778:BYG
1981:129
1945:431
1774:123
1696:780
777:.
65:by
4970::
2206:,
2189:,
2161:.
2157:.
2124:,
1983:.
1975:.
1963:^
1918:.
1816:.
1776:.
1713:.
1672:^
1654:^
1637:.
1625:^
1609:.
1581:^
1476:^
1458:.
1422:^
1373:.
1206:,
1182:,
1178:,
1174:,
1151:,
1147:,
1143:,
1088:,
1084:,
1068:,
952:,
948:,
944:,
936:,
932:,
897:,
890:.
882:,
829:,
761:,
758:Om
583:,
579:,
575:,
571:,
567:,
548:.
500:.
458:,
324:.
277:,
4501:e
4494:t
4487:v
3695:e
3688:t
3681:v
2253:e
2246:t
2239:v
2175:.
2093:.
1993:.
1957:.
1924:.
1903:.
1878:.
1853:.
1828:.
1786:.
1753:.
1728:.
1698:.
1648:.
1619:.
1575:.
1550:.
1525:.
1500:.
1470:.
1444:.
1383:.
1360:.
1341:.
1322:.
1304:.
1265:.
811:.
132:)
126:(
121:)
117:(
107:·
100:·
93:·
86:·
59:.
36:.
20:)
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