# free jazz



## science (Oct 14, 2010)

It turns out that we need a thread for free jazz!

Just FYI: Wikipedia has (of course) a nice page on this topic.

My favorite albums of free jazz are Ornette Coleman's _The Shape of Jazz to Come_ (1959 -- in fact, the first track, "Lonely Woman," is one of my absolute favorite jazz compositions), John Coltrane's _Ascension_ (1965), and Anthony Braxton's _For Alto_ (1969). There are many more that I like, but to be honest I haven't explored this genre as much as I'd like to.

Maybe we'll get some good discussion and some good recommendations here.


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## Barbebleu (May 17, 2015)

I will post on this thread later when I get to my database. The Free Jazz peak period (IMO late fifties to early seventies) is a particular specialty for me. I too look forward to what others have to offer. Off the top of my head I will mention Archie Shepp, Albert Ayler, John Tchicai, Roswell Rudd and of course Ornette and Coltrane to start.


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## starthrower (Dec 11, 2010)

I have quite a few records that fall into this genre. All of Archie Shepp's Impulse albums which I really enjoy. And many others:

Grachan Moncur: Some Other Stuff
Tony Williams: Lifetime (acoustic album on Blue Note)
Eric Dolphy: Out To Lunch
Sam Rivers: Contrasts
Sun Ra: Cosmic Tones For Mental Therapy
Keith Jarrett: Fort Yawuh, Backhand
Steve Lacy: Blinks, Live In Zurich 1983, both of the Soul Note boxes
Henry Threadgill: Live at the Montreal Intl Jazz Festival
Ornette Coleman: This Is Our Music, Complete Science Fiction Sessions
Pat Metheny/Ornette Coleman: Song X 20th Anniversary Edition
Art Ensemble Of Chicago: Full Force, Nice Guys, People In Sorrow

And many others I won't all list.


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## Barbebleu (May 17, 2015)

An important read is Val Wilmer’s book - As Serious as Your Life


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## Jay (Jul 21, 2014)

Barbebleu said:


> An important read is Val Wilmer's book - As Serious as Your Life


Yes...

A few others:

Free Jazz - E. Jost
Free Jazz/Black Power - Carles & Comolli (finally translated from the French)
Performing "Out There" - David Such
This Is Our Music - Iain Anderson


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## SONNET CLV (May 31, 2014)

A friend of mine once told me that music like this (referring to "free jazz") made him "nervous." I think music that makes me nervous is good music. It proves stimulating.

But I'm not saying "free jazz" makes _me_ nervous. I just like to hear improvised, experimental jazz music played by guys (and gals) who can "blow" anything but choose, for the moment, to do this sort of thing. Whether its Ornette Coleman, or Anthony Braxton, or Miles Davis, or Roscoe Mitchell … it is interesting music worth hearing. And I remain a fan.

I've managed to add quite a few "free jazz" and avant-garde, experimental jazz records and CDs to my collection, but I'm especially pleased to have the entire collection (so far) of "The Complete *Remastered* Recordings On Black Saint & Soul Note". This set of some forty-plus multi-disc box sets (ranging in boxes from 4 CDs to 11) feature artists such as Muhal Richard Abrams, Ran Blake, Lester Bowie, Bill Dixon, Charlie Haden, Julius Hemphill, Steve Lacy, Oliver Lake, Roscoe Mitchell, David Murray, Don Pullen, Max Roach, George Russell, Cecil Taylor, Henry Threadgill, Mal Waldron, Kenny Wheeler, and many more ….

You can view some of the discs in the collection here:

https://www.discogs.com/search/?q=T...ecordings+On+Black+Saint+&+Soul+Note&type=all

Must hear music for free jazz fanatics.


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## aioriacont (Jul 23, 2018)

at the moment I am only aware of Coltrane's later era which is probably the core of FJ.
Interstellar Space has finally revealed its beauty to me.


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## mrdoc (Jan 3, 2020)

I am looking forward to this thread as the examples of free jazz that I have heard leave me unimpressed so I do not seek out more to listen to but I am open to conversion.
From what I understand free jazz does not have set structure, key, tempo etc so if it is improvised as jazz should be how do the musicians in for example a septet know what is coming next ? 
It would be good to have links to examples that followers consider good free jazz.


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## starthrower (Dec 11, 2010)

The Black Saint/Soul Note box set series is one of the great things to happen in the world of modern jazz recordings. I stopped at 14 sets because it was getting to be too much. And there are still more titles that haven't been re-issued including albums by Joe Lovano, Craig Harris, and others.


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## Jay (Jul 21, 2014)

There are different "schools" of so-called "free jazz"....

New York's emotive, maximal "energy" style:






Chicago's often static, inert, cerebral approach:


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## mrdoc (Jan 3, 2020)

Jeepers its worse that I remember guess its not for me...


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## starthrower (Dec 11, 2010)

I'm not a big fan of the cacophonous blowing style. There is an awful lot of free music that sounds more organized and compositional in approach which I find more satisfying as a listener. Music that is in between the to two examples above.


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## Guest (Jun 30, 2020)

My Jazz tastes were determined to a surprising extent by a collection I bought in the 70's call The Smithsonian Collection of Classic Jazz. There was an Ornette Coleman track that didn't resonate the time and I never really reconsidered. Maybe time to go back and check it out.


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## Jay (Jul 21, 2014)

mrdoc said:


> ...I am open to conversion.


First, you'll have to repent:


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## philoctetes (Jun 15, 2017)

Good to see Charles Gayle get a nod... saw him play at a Friday Happy hour in San Jose while we shot pool .. the place was nearly empty...


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## mrdoc (Jan 3, 2020)

Jay said:


> First, you'll have to repent:


Many years ago a neighbor took up the saxophone as a retirement project and for the first week or so she produced a sound that was just like the opening of your video. But she eventually got the hang of it.


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## elgar's ghost (Aug 8, 2010)

John Surman's 1970 recordings with Barre Philips and Stu Martin (as The Trio) - do they count?


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## philoctetes (Jun 15, 2017)

elgars ghost said:


> John Surman's 1970 recordings with Barre Philips and Stu Martin (as The Trio) - do they count?


I think so... just by the names... many of the examples given so far are on the skronk end of the spectrum... Surman is known for a more muted sax sound... and played with Paul Bley a lot... the most important trio pianist in jazz aside Bill Evans... the BS/SN box of the Bley's work is very good jazz in the Ornette vein, but usually without horns... guitarist John Scofield is on one album...

For more guitar-oriented free jazz, Nels Cline, Bill Frisell, Scofield, Mary Halvorson, Liberty Ellman, are some of the more listenable players out there... the recent Braxton set with Cline shows him off well... same with Halvorson's work with cellist Tomeka Reid

Rhythm is a strong part of free jazz nowadays... percussion sensation Tyshawn Sorey is one of the youngest and brightest... and then there is Allison Miller, who partners with pianist Myra Melford...

like avant-garde classical, which has some common qualities, free jazz has become "easier" to listen to as the methods are assimilated and innovated through generations of musicians who were raised on all kinds of music and have exceptional chops...


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## starthrower (Dec 11, 2010)

elgars ghost said:


> John Surman's 1970 recordings with Barre Philips and Stu Martin (as The Trio) - do they count?


I have these and it sounds like free jazz to my ears. Good recordings too. I love the drum sound!


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## starthrower (Dec 11, 2010)

I haven't heard any free jazz from Scofield. The old Frisell Trio with Joey Baron and Kermit Driscoll was very adventurous.


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## philoctetes (Jun 15, 2017)

he's not that deep in the genre, but seems connected... like Metheny he's more of a crossover to me... his latest album partners with Steve Swallow, haven't heard it yet but I'm sure it's worthy...

blurring these genres, in jazz, seems like progress to me... someone like Kris Davis can roam from bop to funk to Cecil-isms just in one track... similar idea as Prime Time but 30 years later...


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## Barbebleu (May 17, 2015)

elgars ghost said:


> John Surman's 1970 recordings with Barre Philips and Stu Martin (as The Trio) - do they count?


Absolutely!xxxxxxxxxxxxxxxxxx


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## philoctetes (Jun 15, 2017)

starthrower said:


> I haven't heard any free jazz from Scofield. The old Frisell Trio with Joey Baron and Kermit Driscoll was very adventurous.


I saw that trio on tour... but the coolest live setting with Frisell was with Charles Lloyd, with Julian Lage on the other guitar... is Charles Lloyd free jazz? one might not think so but they performed one tune that was right out of the Prime Time playbook... Lloyd can improvise with the best...


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## philoctetes (Jun 15, 2017)

Anybody remember Peter Apflebaum? I saw him at the Stanford Jazz Workshops with Don Cherry... whatever happened to that guy? the Heiroglyphics Ensemble...


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## philoctetes (Jun 15, 2017)

Another guitarist I like is Jakob Bro, who also plays with Joey Baron... almost like Bill Evans Trio but with guitar... free jazz musicians sounding quite melodic...


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## starthrower (Dec 11, 2010)

philoctetes said:


> Anybody remember Peter Apflebaum? I saw him at the Stanford Jazz Workshops with Don Cherry... whatever happened to that guy? the Heiroglyphics Ensemble...


I remember him. Isn't he on Don Cherry's Multi Kulti album? I have a nice sounding live Charles Lloyd CD on ECM. I forget the name.


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## philoctetes (Jun 15, 2017)

starthrower said:


> I remember him. Isn't he on Don Cherry's Multi Kulti album? I have a nice sounding live Charles Lloyd CD on ECM. I forget the name.


Following free jazz musicians leads to a lot of great music that is mostly improvisation... an extension of bop... or to stuff like Under the Missouri Skies... or to compositional methods taken by Braxton or Holland.. many of the younger cats are taking that route...

Apflebaum was trying to be a big band leader as a conductor... and it was a strange vibe... Cherry was gone not long after that workshop.


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## Jay (Jul 21, 2014)

philoctetes said:


> Anybody remember Peter Apflebaum?


I saw him about 20 years ago in Bennington, VT. Very hip. I think he's still around, maybe with Steve Bernstein.


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## Jay (Jul 21, 2014)




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## Jay (Jul 21, 2014)




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## Jay (Jul 21, 2014)




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## Barbebleu (May 17, 2015)

Jay said:


>


Fantastic album by a fantastic group of musicians.


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## Portamento (Dec 8, 2016)

This album continues to blow my f---ing mind every time I hear it.









One of the greatest improvisers-no, _composers_-of the last 50 years.


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## mrdoc (Jan 3, 2020)

Portamento said:


> This album continues to blow my f---ing mind every time I hear it.
> 
> View attachment 140139
> 
> ...


I can understand _*improvisers*_ but how does _*composer*_ relate to Free Jazz?


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## Portamento (Dec 8, 2016)

mrdoc said:


> I can understand _*improvisers*_ but how does _*composer*_ relate to Free Jazz?


Are they not composers as well?


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## mrdoc (Jan 3, 2020)

Portamento said:


> Are they not composers as well?


So you are saying that free jazz is/can be composed which seems at odds with being free! I just thought that free jazz was a musician/musicians played impromptu what ever came into their mind.


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## Jay (Jul 21, 2014)

mrdoc said:


> ... but how does _*composer*_ relate to Free Jazz?


Improvisation is spontaneous composition.



mrdoc said:


> So you are saying that free jazz is/can be composed which seems at odds with being free! I just thought that free jazz was a musician/musicians played impromptu what ever came into their mind.


Yes, free jazz can be composed in the way you mean; there are predetermined, fixed elements; "impromptu" doesn't mean "mindless." Free jazz meant freedom from _established conventions_ with regard to melody, harmony (the "tyranny of the chord"), rhythm, timbre, form, etc. But, it didn't necessarily require musical anarchy, although it could....


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## Barbebleu (May 17, 2015)

Ornette Coleman’s album Free Jazz gives you a fair idea of what free jazz can be.

Also Coltrane’s Ascension.


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## millionrainbows (Jun 23, 2012)

I tend to make my own distinctions about this "free jazz" area. Ornette Coleman might have led the way to an extent, but his music is very idiosyncratic and individual for me to comfortably place it ALL in the "free jazz" category, excepting the _Free Jazz _album.
Coltrane is like that too, but I think he's _closer_ than Ornette to "free jazz" on his Impulse stuff.

Eric Dolphy, too. The compositions on _Out To Lunch_ are too structured, too composed, for me to comfortably place it as "free jazz" except for some of the free solos.

What about Chick Corea, a little late to the "free jazz" party with his _"IS"_ sessions and related recordings? To me, this music sounds more like a version of avant garde music.

For me, "free jazz" has to have a _racial_ element; it's largely an expression of black rage; rage against racism and the assimilation of black jazz into the mainstream consumer market.

In this "anti-commercial" sense, it can be compared to the underground "hardcore punk" movement of the 1980s. None of the participants really expected any fame or profit; it was done as an "anti music industry" gesture.


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## Portamento (Dec 8, 2016)

So here's a question: at what point does "jazz" become "trans-idiomatic music"? This is a phrase that Braxton and many others working today prefer as it eliminates any connotations associated with a given genre.


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## mrdoc (Jan 3, 2020)

Jay said:


> Improvisation is spontaneous composition.
> 
> Yes, free jazz can be composed in the way you mean; there are predetermined, fixed elements; "impromptu" doesn't mean "mindless." Free jazz meant freedom from _established conventions_ with regard to melody, harmony (the "tyranny of the chord"), rhythm, timbre, form, etc. But, it didn't necessarily require musical anarchy, although it could....


I am sorry but I just don't understand your comments regarding composition. 
What is the difference between these predetermined elements that free jazz uses and the established conventions that you mention?
Can we finish up with say an ensemble of 5 musicians playing in 5 different keys and 5 different metres?


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## millionrainbows (Jun 23, 2012)

Portamento said:


> So here's a question: at what point does "jazz" become "trans-idiomatic music"? This is a phrase that Braxton and many others working today prefer as it eliminates any connotations associated with a given genre.


 At what point? I would say at 51%.

Jazz has always been a music of assimilation. Many black musicians (Art Blakey) have complained that jazz has gotten *too *assimilated (Henry Mancini, Bossa Nova, TV themes like Mannix, Perry Mason, PeterGunn, the whole "age of jazz" in Hollywood).

I think a more "Black Lives Matter" way of putting it might be, "At what point does jazz become so removed from its blues and black roots that it is no longer jazz, but some trans-idiomatic mutation?"


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## millionrainbows (Jun 23, 2012)

mrdoc said:


> I am sorry but I just don't understand your comments regarding composition.
> What is the difference between these predetermined elements that free jazz uses and the established conventions that you mention?


Is that a question or a complaint?

A jazz tune can have a "head," like Coltrane's "India" or "A Love Supreme." You can tell when the improvisation starts. Instead of asking for definitions, listen more and come to your own conclusions.



> Can we finish up with say an ensemble of 5 musicians playing in 5 different keys and 5 different metres?


I don't think that's the way it would be thought out. It's more logical to think of 5 musicians, each playing freely, indeterminately.



mrdoc said:


> So you are saying that free jazz is/can be composed which seems at odds with being free! I just thought that free jazz was a musician/musicians played impromptu what ever came into their mind.


Where did you get that idea? From listening to music, or by struggling mentally with the definitions of "free" and "composed?"

A piece can be loosely structured, and still have sections of improvisation.

Coleman's "Free Jazz" album seems to be completely free, with no "theme" of any kind. You can compare the two takes. Different soloists are featured, but that's about it.

Anyway, it's just a generic label, used for convenience, not to define anything.


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## mrdoc (Jan 3, 2020)

millionrainbows said:


> Is that a question or a complaint?
> 
> A jazz tune can have a "head," like Coltrane's "India" or "A Love Supreme." You can tell when the improvisation starts. Instead of asking for definitions, listen more and come to your own conclusions.
> 
> ...


Sir you are a very sarcastic person with a seemingly inability to understand the difference between a statement and a question and quite honestly I cant be bothered even answering your post so it will remain ignored.


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## Barbebleu (May 17, 2015)

Cecil Taylor - Unit Structures and Conquistador. Brilliant stuff and the epitome of free jazz in anyone’s book.


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## millionrainbows (Jun 23, 2012)

Here's a good example of what "free" means, as Coltrane starts from a centered, calm point, and gradually moves into stormier territory.


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## Jay (Jul 21, 2014)




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## Barbebleu (May 17, 2015)

Jay said:


>


ESP released some stunning stuff back in the sixties. Fortunately the French BYG label picked up the baton later on.


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## Phil loves classical (Feb 8, 2017)

mrdoc said:


> I am looking forward to this thread as the examples of free jazz that I have heard leave me unimpressed so I do not seek out more to listen to but I am open to conversion.
> From what I understand free jazz does not have set structure, key, tempo etc so if it is improvised as jazz should be how do the musicians in for example a septet know what is coming next ?
> It would be good to have links to examples that followers consider good free jazz.


Tempo is not improvised, or else it would be a real mess (some can say it already is). They don't know what's coming next which is the idea. You can hear one come up with a motif, and then others start latching on to it like here just after 8:00 with the sax starting it all. It kind of fizzles and go different directions, and that is one of the more coherent parts! I kind of lost my interest in the genre. It does have form, but is very loose and indistinct.


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## mrdoc (Jan 3, 2020)

Phil loves classical said:


> Tempo is not improvised, or else it would be a real mess (some can say it already is). They don't know what's coming next which is the idea. You can hear one come up with a motif, and then others start latching on to it like here just after 8:00 with the sax starting it all. It kind of fizzles and go different directions, and that is one of the more coherent parts! I kind of lost my interest in the genre. It does have form, but is very loose and indistinct.


Thanks Phil at last something I can relate to, 
If we are on about the same thing I would just say tempo can be changed in 'none free jazz' usually when a player is given a solo I say given not taken. Also the meter can be changed say E.g. from 4/4 to ¾ but to be honest this is pre arranged in my experience. 
Also the key can be changed and often is but not pre arranged although someone will usually give some indication as to what is about to happen.
Yes I heard the motif you mentioned to me that was the only enjoyable bit in it.
I think it is the start that put me off, every one playing their own thing fast which to me was like a verbal discussion between half a doz people BUT all talking at once so that you cannot understand what on earth any one of them is talking about.
So I think it is about time that I admitted defeat and admit it is not for me.


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## SONNET CLV (May 31, 2014)

mrdoc said:


> ...
> I think it is the start that put me off, every one playing their own thing fast which to me was *like a verbal discussion between half a doz people BUT all talking at once so that you cannot understand what on earth any one of them is talking about*.
> So I think it is about time that I admitted defeat and admit it is not for me.


So, I suspect you're not ready for the free jazz that is "like a verbal discussion" among a "half a doz people" each of which speaks a _different foreign language_ none of which you recognize. Alas ... that's where I like to start. Oh well ... there's enough music out there for everyone's tastes. Enjoy.


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## GucciManeIsTheNewWebern (Jul 29, 2020)

mrdoc said:


> I think it is the start that put me off, every one playing their own thing fast which to me was like a verbal discussion between half a doz people BUT all talking at once so that you cannot understand what on earth any one of them is talking about.
> So I think it is about time that I admitted defeat and admit it is not for me.


It's definitely an acquired taste and I know the feeling you're describing. It also definitely exists on a spectrum: collective free jazz improvisation between just a couple instruments (let's say a sax, bass, piano, and drums for instance) is far more easier to digest than something like Ascension by John Coltrane or Free Jazz by Ornette Coleman like in the video above, which is an entire whopping jazz orchestra all freely improvising at once. I think the titular Ornette Coleman piece is even easier to digest than Ascension. There's parts of Ascension that I really like and are quite glorious, but if you made me sit down and listen to the thing as a whole in one sitting, I'd be hard pressed to say I was genuinely enjoying it.


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## Jay (Jul 21, 2014)

Ornette-ish...


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## starthrower (Dec 11, 2010)

^^^
I like those CD covers. I have the Cecil Taylor, and Ted Curson editions.


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## millionrainbows (Jun 23, 2012)

Sonny Sharrock...free guitar. His wife's vocalizations are said to have influenced Yoko Ono's.


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## Barbebleu (May 17, 2015)

I first became aware of Sonny through Pharoah Sanders. Very intense stuff.


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## GucciManeIsTheNewWebern (Jul 29, 2020)

Barbebleu said:


> I first became aware of Sonny through Pharoah Sanders. Very intense stuff.


Are you talking about Ask the Ages by Sonny and Pharoah? I've only ever listened to that once and I'm so glad your comment reminded me that exists.


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## Barbebleu (May 17, 2015)

No, I was thinking about Tauhid actually. I’d forgotten about Ask the Ages. Thanks for the reminder.


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## GucciManeIsTheNewWebern (Jul 29, 2020)

Barbebleu said:


> No, I was thinking about Tauhid actually. I'd forgotten about Ask the Ages. Thanks for the reminder.


I've never listened to Tauhid. I oughta check that out.


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## Barbebleu (May 17, 2015)

GucciManeIsTheNewWebern said:


> I've never listened to Tauhid. I oughta check that out.


I hope you like it. Here it is in YouTube.


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## tortkis (Jul 13, 2013)

Modern Jazz Quintet Karlsruhe / Four Men Only - Complete Recordings (NoBusiness)









Herbert Joos (flugelhorn, mellophone, piston, percussion), Wilfried Eichhorn (tenor & soprano saxophone, flute), Helmuth Zimmer (piano), Klaus Bühler (double bass), Rudi Theilmann (drums)

This is a reissue of Trees, Position 2000, Four Men Only Volume One and Eight Science Fiction Stories, with some previously unreleased tracks, recorded 1968-1973. I didn't know anything about the musicians. Very good organic group interplay. NoBusiness has been releasing many high-quality, memorable free jazz albums.


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## GucciManeIsTheNewWebern (Jul 29, 2020)

*Sam Rivers - Paragon *

I've always loved this album. Rivers switches off between sax and flute and he's a master at both. Dave Holland also tears stuff up here on bass. The second track is a really nice calm section between flute and an arco bass with some really wonderful harmonies, and the rest of the album thrashes wildly.


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## tortkis (Jul 13, 2013)

Gary Peacock Tribute - The Free Jazz Collective's reviews of recordings by Gary Peacock. I listened to this Davidson trio album I didn't know, and I liked the trio's introspective and delicate free interplay very much.









Lowell Davidson (piano), Gary Peacock (bass), Milford Graves (percussion)
recorded 1965


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## Open Lane (Nov 11, 2015)

I'm a big fan of peter brotzmann. And David S. Ware.


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## Open Lane (Nov 11, 2015)

one type of "free jazz" i can't get into is the piano driven stuff. Not for me.


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## SyphiliSSchubert (Sep 21, 2020)

I got REALLY into Interstellar Space by Coltrane lately. And I once hated that album. See how things are.


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## Barbebleu (May 17, 2015)

Open Lane said:


> one type of "free jazz" i can't get into is the piano driven stuff. Not for me.


I take it you mean stuff like Cecil Taylor and his ilk.


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## starthrower (Dec 11, 2010)

How about Paul Bley? I like his stuff.


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## Jay (Jul 21, 2014)

These guys were "second wave" outcats, who often played together at Studio We, one of the earlier venues on the '70s "loft jazz" scene in lower Manhattan:


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## Barbebleu (May 17, 2015)

Nice post Jay. All good stuff.


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## starthrower (Dec 11, 2010)

I just bought a copy of Dortmund 1976 by Anthony Braxton. What a concert! Dave Holland, Barry Altschul, and George Lewis make up the quartet.


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## Simon Moon (Oct 10, 2013)

While I do like quite a bit of outside jazz, I am not completely sold on free jazz. I like a bit of structure.

I am good with jazz, that starts off with a some structure, then goes into a free sections, then comes back to structure. I guess some of the 'spiritual jazz' might fit that description.

Also, I wish I could get over the feeling, that some free jazz players, gravitated toward the free jazz blowing in order to cover up their lack of serious chops. Anthony Braxton, in his pre free jazz days, was not the best player.

But sometimes, I do get into certain moods, where nothing else will will fit.

Poland in the late 60's and 70's seems to have found some compatibility with the free jazz movement.

Thomas Stanko was one of the standouts.


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## Jay (Jul 21, 2014)

Another second wave free player on the loft jazz scene, altoist Alan Braufman:


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## Jay (Jul 21, 2014)




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## Barbebleu (May 17, 2015)

Jay said:


>


I do like Jimmy Lyons. He was a perfect foil for Cecil Taylor. I have a nice 5cd box called, obviously, Jimmy Lyons, The Box Set. Terrific stuff.


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## Shaughnessy (Dec 31, 2020)

*Julius Hemphill (1938 - 1995): The Boyé Multi-National Crusade for Harmony (Box Set)*

Link to complete 7 CD box set -

https://www.youtube.com/playlist?list=OLAK5uy_m-GGUm4VMrYekRwP0PGnGa22CXPrsqics

ARCHIVAL RECORDINGS (1977-2007)

Julius Hemphill with
Malinké Elliott, K. Curtis Lyle, Abdul Wadud
Baikida Carroll, John Carter, Olu Dara
Nels Cline, Allan Jaffe, Jehri Riley, Jack Wilkins
Jerome Harris, Dave Holland, Steuart Liebig, Roberto Miranda
Michael Carvin, Alex Cline, Jack DeJohnette, Philip Wilson
Ursula Oppens, Daedalus String Quartet
Ray Anderson, Marty Ehrlich, Janet Grice, John Purcell, Bruce Purse

Disc 1: The Boyé Multi-National Crusade for Harmony I [74:20]
Disc 2: The Julius Hemphill/Abdul Wadud Duo [60:51]
Disc 3: The Janus Company [73:47]
Disc 4: Chamber Music[63:32]
Disc 5: Roi Boyé Solo and Text [75:01]
Disc 6: The Boyé Multi-National Crusade for Harmony II [65:07]
Disc 7: Live At Joyous Lake [66:44]

"Not only consists exclusively of previously unissued recordings, but also goes a long way in filling out the complex story of this multifaceted artist whose breadth and vision were seriously short-changed by the recording industry". -Downbeat

"Mastery and Transgression' in Music That Bridges Genres" -New York Times

"Throughout the listener is struck by how effectively Hemphill was able to blend free blowing with structured composition. Some of his themes have the intensity of bebop leavened with the humour of Monk, but with a down-home flavour that was Hemphill's own." -Richard Williams

"This is a beautifully produced tribute to a still neglected master musician." -The Wire

"Julius Hemphill was one of the key jazz composers of the late 20th century, a modernist with deep roots. His music should be part of any informed listener's jazz education." -NPR music


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## HenryPenfold (Apr 29, 2018)

starthrower said:


> I just bought a copy of Dortmund 1976 by Anthony Braxton. What a concert! Dave Holland, Barry Altschul, and George Lewis make up the quartet.


Coincidentally, I gave an outing to 'New York Fall, 1974' earlier this week for the first time in a long time.


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## Jay (Jul 21, 2014)




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## Jay (Jul 21, 2014)




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## Barbebleu (May 17, 2015)

Jay said:


>


Fabulous album and extremely hard to find and when you do find a copy it is ludicrously priced. No cd release which is unfortunate but I suppose they reckoned only about ten copies would be sold. :lol:


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## Jay (Jul 21, 2014)

Barbebleu said:


> No cd release ...


I have the original LP set, but I seem to recall a CD release some years ago. If not, it's a shame because this is a seminal free jazz document.


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## Barbebleu (May 17, 2015)

Jay said:


> I have the original LP set, but I seem to recall a CD release some years ago. If not, it's a shame because this is a seminal free jazz document.


You are correct. A cd release in Japan thirty years ago and a couple of bootleg CDrs later is your lot. I may just have to rip it from YT.


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## Jay (Jul 21, 2014)




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## starthrower (Dec 11, 2010)




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## Jay (Jul 21, 2014)




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## Jay (Jul 21, 2014)




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## Jay (Jul 21, 2014)




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## Jay (Jul 21, 2014)




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