Avant-Garde Jazz

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Avant Garde jazz is rooted in the so called 'free jazz' of the late 50s and 60s. In 1958 Ornette Coleman shocked the jazz world when he released 'Something Else!'. Although rooted in be-bop, Ornette's music eschewed standard harmonic changes and gave soloists freedom to pursue chromatic melodic excursions based on intuition and improvised interaction with the other musicians. Meanwhile John Coltrane began to leave off the standard bop chord changes in his music and began to pursue lengthy improvisations based on modal drones that gave soloists much more freedom. As the years passed and Coltrane's band changed membership, the background provided by his rhythm section became more and more free and cacophonous as well.

Although Coleman and Coltrane introduced more freedom to jazz, essentially their music remained rooted in swing and bop in that their melodic phrases, no matter how atonal, still 'swung' in the traditional sense of the word. Soon a new generation of jazz virtuosos such as Cecil Taylor, Archie Shepp, Albert Alyer and Pharoh Sanders would take jazz into even further abstractions and noise levels creating music that was all about emotive expressionism, not entertainment.

Although it never totally disappeared, free jazz faded to the background when fusion came along with its amplified guitars and Fender Rhodes pianos. Ironically enough, Miles Davis, who was always critical of the free players, seemed to adopt much of their expressionism when his brand of fusion became increasingly abstract and aggressive culminating in the beautifully harsh and intense 'Live at Fillmore'.

One avant-garde jazz musician who always charted his own course outside of the free movement and ahead of Ornette Coleman's innovations was Sun Ra. Possibly one of the most creative jazz musician ever, Ra condemned the free players saying there was no freedom in his band, only the 'Ra jail'. After the demise of the free movement, Sun Ra's vision of avant-garde jazz, in which composition played a large role along side improvisation, became an inspiration to a new wave of avant-garde jazz musicians.

The avant-garde genre at JMA is dedicated to avant-garde jazz musicians only, and not to the larger world of avant-garde rock and composition. Although the differences may be subtle, avant jazz often differs from other forms of avant-garde music in the use of jazz's characteristic syncopated rhythms and the make-up of the instrumental ensembles which often reflect jazz's past traditions.

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ALICE COLTRANE Ptah, the El Daoud Album Cover Ptah, the El Daoud
ALICE COLTRANE
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ORNETTE COLEMAN Science Fiction Album Cover Science Fiction
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SUN RA Atlantis Album Cover Atlantis
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avant-garde jazz Music Reviews

EVAN PARKER Time Lapse

Album · 2006 · Avant-Garde Jazz
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snobb
British living legend sax player Evan Parker is the same guy who (together with Derek Bailey) founded the Spontaneous Music Ensemble and played on Peter Brotzmann's "Machine Gun". Since then he has developed extended techniques, circular breathing and has released a lot of albums as leader.

His solo sax recordings are not a rarity, but "Time Lapse", released on Zorn's Tzadik label, is different - here Parker uses overdubbing, playing against himself (less significant-he debuted on this album as an organ player as well).

In fact, during the last few decades Parker's music hasn't changed much - he still plays the same repetitive improvised constructions without paying much attention to tune or structure, But the way he does it is always impressive and it doesn't seem to matter if it's your first or tenth listen.

This album often sounds as if there are two or three musicians participating, and this seems to hold true whether there is overdubbing or not. Throughout Parker plays in his signature manner - not screamy, noisy or too "out", but well organized, with a lot of attention to details. It's hard to apply a genre label to this music, is it 'contemporary' jazz or avant-garde, thats how well prepared his improvs sound.

No way revolutionary for Evan Parker, this album represents his current music and can attract everyone interested in original solo sax improvisational music.

ALAN SILVA Luna Surface (with Celestrial Communication Orchestra)

Album · 1969 · Avant-Garde Jazz
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snobb
In one of his interviews, Alan Silva said this about this album: ""Luna Surface" is my idea of landing on the moon". This probably sounded a bit different in 1969, when this album was recorded, but it does give some idea of what one can expect.

Bermuda-born (to a local father and Azorean/Portuguese mother) Alan moved with his mother to New York when he was 5 and grew up in Harlem. During the 50s and 60s he played with many leading jazz musicians, including Sun Ra, Charles Mingus and Albert Ayler among others. "Luna Surface" is Silva's debut as a leader, and one of the most extreme albums of its time (even if that time was full of extreme music).

First of all, this is the first release from Silva's led Celestrial Communication Orchestra - a loose collective which will later play better structured and organized progressive big band music, and often written and conducted by Silva (he wouldn't perform himself on some later albums). The initial line-up contained the high adventure jazz stars of all times, including Anthony Braxton, Archie Shepp, Kenny Burrell, Graham Moncur III, Malachi Favors, and Leroy Jenkins among others.

This album's concept was extreme freedom - everyone plays whatever he wants with no relation to what others do. In other words, each musician was a soloist, and all were soloists at the same time.

As a result, we got a noisy dissonant music which starts nowhere, and being high energy and dynamic, goes nowhere as well. One long piece (28+ minute) without even imitation of structure, development or any scenario. Peter Brotzmann's "Machine Gun" sounds like a well developed and organized work compared with "Luna Surface" (both albums were released at the same time).

But open eared listeners (with some experience in 60s free jazz or just brutal improv fans) will probably find its own beauty in this chaotic sound. To be honest, the main attraction comes from the two violins (Silva himself and Leroy Jenkins), soloing at the same time all album long (Silva plays the violin as a vertical bass, using a lot of the highest frequencies). The rest of the orchestra, most of the time, just produces over-orchestrated musical noise, where it is almost impossible to investigate who plays what. Still, at moments multiple sound layers demonstrate how better this recording could be by reducing the number of members and by using more progressive sound recording technologies.

In all cases, not the album for everyone, "Luna Surface" has been re-released many times and has historical value for sure. It's always interesting to know how some artists more than half a century ago imagined what landing on the moon would sound like.

ELTON DEAN El Skid

Album · 1977 · Avant-Garde Jazz
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snobb
One of the four Elton Dean albums released in 1977, "El Skid" (what comes from Elton + Skidmore), is the only one of them released outside of his home country (on the tiny German Vinyl Records), all the others come from the English Ogun label.

The quartet on here is led equally by two British sax players, Elton Dean and Alan Skidmore, and also includes acoustic bassist Chris Laurence and ex-Soft Machine drummer John Marshall. Released during a time when Soft Machine had become inactive but still retained name recognition. It's not unusual that the music recorded by this band's living legend Elton Dean (plus one more ex-Machinist) attracted a lot of attention from their former band's fans, but it wasn't necessarily for good at all.

Even if the album's opener, "Dr. Les Mosses", sounds quite close to early 70s "Softs" fusion, the rest of the music is pure jazz, and even more - quite straight-ahead jazz (at least compared to many of Dean's freer works). This co-led quartet plays quite melodic free-bop and blues-rooted groovy music, the kind one can hardly find on other Dean albums. Four long compositions are influenced more by Eric Dolphy and Sonny Rollins than the Canterbury scene they came from, or the quirky English improv-based avant-garde jazz of that time.

Reissued in 2001 on the UK Voiceprint label which specializes in the Canterbury scene and other rock-jazz reissues and vault material releases, this album missed its second chance to find the right listener and it's a pity, since it contains some really good jazz coming from one of Dean's most fruitful periods. Anyone coming from an interest in the Canterbury scene and wanting to dig deeper into the Elton Dean solo works can start here - this free, but quite accessible album could become a good entry to his other, often more "out" and quirky solo music.

SOPHIA DOMANCICH Courtepointe Live at the Sunside (with Mark Helias, Andrew Cyrille)

Live album · 2012 · Avant-Garde Jazz
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snobb
French pianist Sophia Domancich is best known for her twenty-years of collaboration with the leading bands and solo artists of the Canterbury scene, including Pip Pyle, Elton Dean, Hugh Hopper,etc,etc. Her solo works are less known, especially outside of France, which is a shame - she is a classically-trained pianist with a series of really interesting albums, coming from more than two decades.

Her live album "Courtepointe", recorded in Paris' Sunside club, is not her first album of such origin: three years earlier she released similar acoustic trio work, recorded live in Sunside as well (with the extraordinary rhythm section of drummer Hamid Drake and bassist William Parker).

"Courtepointe" is an acoustic trio album as well, with Hamid Drake again, this time paired with bassist Mark Helias. Once tagged as a "better writer than improviser", Sophia finds great balance of both components on this album. Her chamber sensibilities with a touch of French romanticism are perfectly balanced by the freewheeling and groovy American rhythm section.

This gig doesn't sound as much like a hot-wired free-jazz American club night, it's more of an elegant and even stylish French one. Her trio plays exclusively originals, coming proportionally from each member, combining tuneful slightly melancholic Sophia's almost-chamber songs with more full-blooded groovy and quite free compositions coming from Drake and Helias. Probably this album's main value comes from how well balanced this live show sounds. Each musician uses his strong sides and gets support from her/his colleagues, as a result all the music isn't chaotic at all, but lively, well-rounded modern cosmopolitan jazz.

OKKYUNG LEE Noisy Love Songs (for George Dyer)

Album · 2010 · Avant-Garde Jazz
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snobb
"Noisy Love Songs" is Korean cellist Okkyung Lee's second album on Tzadik, five years after her debut (on Tzadik as well). Its a small piece of beauty and art, just in a NY downtown manner.

The album opens with three tuneful songs full of soul. Lee's Eastern naturalism and asceticism are in full effect, lots of space and chamber style groove-less sound. All familiar elements that we know from many other Tzadik recordings, just without the klezmer/Eastern European roots and characteristic sentimentalism. Right when the experienced listener starts to feel danger(is this another catchy artsy Zorn commercially-oriented product?), Okkyung switches towards radical free-form improvs, and again - all are deeply rooted in an Eastern ascetic. These improvs contain small pieces of tunes, similar to what we already heard on the first three songs and while being far less accessible, are still cinematographic enough to become a soundtrack to some artsy cartoon one day.

Following the formula already mentioned above, after the three improvs, the music becomes different again - this time it's kind of freaky rock-jazz with electric violin sounding as heavy-metal solo guitar, accompanied by repetitive doomy rhythms. Then - a percussion and cello dialogue, first slightly melancholic, later - passionate, almost explosive. A few more down-tempo minimalist tuneful songs, similar to the album's opener closes the album.

A great team of collaborators (including percussionist John Hollenbeck (of Claudia Quintet),trumpeter Peter Evans (of Mostly Other People Do The Killing), pianist Craig Taborn, and the main Tzadik electronics wizard, Ikue Mori,among others), did a great job here - every sound on this album is added only if it really needs to be there. An excellent work of non-orthodox chamber jazz, more modern and less mannerist than its European equivalent from the ECM catalog. Great example of how experimental music can be accessible and attractive too.

This is the right place to start for everyone interested in one of the most interesting contemporary NY downtown artists. Okkyung's other albums are all different but often less accessible.

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