Avant-Garde Jazz

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In brief:

The Avant-garde Jazz genre at JMA generally consists of jazz that is usually atonal, and quite often a-rhythmic as well. Avant-garde jazz can be ‘free’, in that there is no prescribed structure for the musicians to follow, or there may be some sort of compositional structure being used as well. Other factors that can result in an avant-garde tag include the use of extremes, such as extremely loud music, or extremely quiet music etc. Also, experimental presentations can be considered, such as a piece where the performers are playing without being able to hear each other, or all of the musicians are submerged in water, etc. Generally the Avant-garde Jazz genre is reserved for musicians from a jazz background, but JMA also includes some non-jazz avant-garde musicians in our Jazz Related Improvisation/Composition genre.

The history:

In all arts, the term avant-garde refers to those who lead the way towards experimentalism and change. This was true in music up until about the mid-60s, when western concepts of harmony and structure hit a breaking point. Prior to the 60s, western concepts of musical advancement centered around increasingly chromatic harmonies moving towards atonality, and increasing difficulties and complexities in rhythm. This breaking point, or dead end for western ideas of continued advancement occurred in the world of concert hall music with John Cage’s chance operations, and it occurred in the jazz world with the arrival of ‘free jazz’. Both John Cage’s aleatoric music, and free jazz, turned western ideas of linear advancement on their head and instead showed the ongoing development of music to be more like a snake swallowing its tail, more circular than linear. In other words, how different was ‘free jazz’ from early man’s attempts to intuitively make music with a hollow log or reed. Surely there are differences, but there are also unmistakable similarities.

After this sort of philosophical breaking point, the term ‘avant-garde’ found a final resting place in the world of jazz as being jazz that is usually atonal, often a-rhythmic and quite often free of any structure. Over the years, many avnt-garde jazz artists began to mix compositional structure with free style playing, but there still continues to be devotees to a 60s style totally free approach.

As we move further into the 20th century, what is termed “avant-garde jazz’ may not necessarily be on the front-lines of change, instead, Avant-garde Jazz as defined by JMA, and as defined by most jazz resources stands as one more genre with its own fixed history, definitions and boundaries. Today’s artist can chose elements from the ‘avant-garde’ as well as any of the other historical jazz genres. In today’s jazz world, the elements introduced by the avant-garde are alive and well, and more common than ever, but many artists today will mix those avant-garde elements with all the other stylistic elements musicians can choose from. Today's top jazz composers and performers often challenge themselves to make music that blurs boundaries such as free and structured, or atonal and tonal.

From a musician’s point of view, the advent of free jazz opened some doors, and closed some others. The initial impact of the freedom was exhilarating as artists like Lennie Tristano, Cecil Taylor, Sun Ra, John Gilmore, Marshall Allen, Pat Patrick, John Coltrane, Ornette Coleman, Archie Shepp and Albert Alyer unleashed some of the greatest jazz ever recorded, but in time, a lack of harmonic changes (chord changes) to work with made many musicians feel like they were playing the same solo over and over. After the initial explosion of the mid 60s, many musicians were happy to go back to the eternal challenge of trying to reconstruct music from a set of complex and harmonically rich chord changes. Still, there continues to be artists such as Joe Morris, Ivo Perelman, Evan Parker and Peter Brotzmann, who continue to make meaningful modern free jazz.

avant-garde jazz top albums

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ORNETTE COLEMAN Science Fiction Album Cover Science Fiction
ORNETTE COLEMAN
4.86 | 10 ratings
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ALICE COLTRANE Ptah, the El Daoud Album Cover Ptah, the El Daoud
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ARCHIE SHEPP Four for Trane Album Cover Four for Trane
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HENRY THREADGILL Henry Threadgill & Make A Move ‎: Everybodys Mouth's A Book Album Cover Henry Threadgill & Make A Move ‎: Everybodys Mouth's A Book
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CECIL TAYLOR The Cecil Taylor Unit Album Cover The Cecil Taylor Unit
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CECIL TAYLOR 3 Phasis Album Cover 3 Phasis
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WAYNE SHORTER The All Seeing Eye Album Cover The All Seeing Eye
WAYNE SHORTER
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GRACHAN MONCUR III Some Other Stuff Album Cover Some Other Stuff
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ERIC DOLPHY 'Out to Lunch!' Album Cover 'Out to Lunch!'
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4.75 | 44 ratings
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DON CHERRY Complete Communion Album Cover Complete Communion
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4.88 | 5 ratings
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ARCHIE SHEPP Fire Music Album Cover Fire Music
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy JMA!

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avant-garde jazz Music Reviews

MAL WALDRON Mal Waldron & Steve Lacy : Live At Dreher Paris 1981, The Peak Vol. 2

Boxset / Compilation · 1996 · Avant-Garde Jazz
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snobb
Second double-CD set, released right after the first one and containing live material,recorded during two last nights of soprano Steve Lacy and pianist Mal Waldron duo gigs at Paris' Dreher. First set is based more on first of three nights recordings and has been released under Steve Lacy name as leader (what is more a marketing trick since first set,released under Lacy's name, contains predominantly Waldron compositions, and second - predominantly Lacy's, in both cases completed with Monk standards)

Bigger part of presented music has been already released on earlier vinyl albums, but them all are real rarities so "The Peak" is with no doubt most accessible possibility to listen duo's legendary concert.

First set's CD contains four well-known Lacy's originals plus three Monk standards (incl. "Epistrophy" - the composition which made Lacy famous at early stage of his career). Second set opens with two Lacy compositions, switches to Waldron's "Hooray For Herby" and closes with three Monk standards.

The year is 1981, and Paris listeners are still enthusiastic listening to tuneful but quite quirky music. Both Lacy and Waldron are known by their love to clear melodies and minimalist touch in combination with deep bluesy roots. So no surprises here - Lacy's vibrato-less soprano sax dominates in most of the time quite often reminding his famous solo soprano concerts. Waldron piano can be heard mostly on the background (in big part because of untoward sound mix) with only better moments when Waldron soloing. Compositions are mostly well-known from other recordings, still here them sound inspired and perfectly played.

Generally often described as best duo release, this set is probably a bit overrated. Obvious Lacy domination (in sound mix and in music generally) too often makes "The Peak" just another Lacy's album, there are more interesting Lacy's solo soprano recordings and better releases as leader with band. Waldron is too often overshadowed here and sounds more as accompanist than a co-leader. Still great evidence coming from early 80s Paris jazz scene and one accessible way to listen two among most significant American expatriate jazz musicians who's career for decades has been related with Europe.

AKIRA SAKATA Arashi : Semikujira

Album · 2016 · Avant-Garde Jazz
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snobb
70 years old veteran of Japanese avant-garde jazz reedist Akira Sakata leads furious acoustic trio with two young Scandinavians - Swedish bassist Johan Berthling and Norwegian drummer Paal Nilssen-Love. The name of the trio is Arashi("Storm"), and their second album,released two years after their self-tittled debut,recorded in Swedish studio and released on Austrian label, is titled "Semikujira"("North Pacific Whale").

Paal Nilssen-Love is extremely prolific artist and producer pushing all Nordic adventurous noisy jazz ahead, bassist Berthling is known as Swedish super bands Angles and Fire!/Fire! Orchestra member, so one can expect really muscular and quirky rhythm section work here - they fulfill expectations in full. Still main star of the show is Akira himself,who not only plays alto sax and clarinet, but adds lot of vocalize (which hardly can be called "singing").

Differently from many other Akira's more abstract works, Arashi is power trio which plays well framed muscular free jazz in New York of 80s tradition, but on very Japanese manner. Over the tight rhythm basis Akira blows some attacking if quite soulful sax soloing, but much more impressive is his absolutely shamanic vocalizes in Japanese,repetitive,hypnotizing and very organic.

From songs titles it's obvious that Japanese folklore, or better to say - ritualistic songs were taken as source of inspiration, and the result is not less than fascinating. Without loosing trad songs structure and some melodious component,power trio reworks them right to free jazz shamanic compositions which surprisingly enough don't lose their relation with shamanic nature of originals.For sure Sakata's voice is not for everyone taste, but those familiar with Japanese brutal avant-rock or experimental radical free jazz (which was a main source of inspiration for John Zorn series of early releases),or fans of Diamanda Gallas' singing will accept Akira's vocal pyrotechnics without big problems.

Arashi's debut two years ago received lot of positive critics, their second work is even better.

ALBERT AYLER New York Eye & Ear Control (with Cherry/Tchicai/Rudd/Peacock/Murray)

Album · 1966 · Avant-Garde Jazz
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DamoXt7942
A magnificent heated session in New York by six jazz giants.

This was the first free jazz album I've purchased, and my enthusiasm for this album upon my first listening in a whisky bar (thanks to Shinichi for your fantastic suggestion) made myself grab the brilliant session album out. Avantgarde free jazz with enjoying great whisky ... but their impression was too strong and too splendid for me to remember the taste of whisky actually. What a passion around the sextet ... the brass section featuring John TCHICAI (alto saxophone), Don CHERRY (trumpet), Roswell RUDD (trombone), and Albert AYLER (tenor saxophone) is battling, chasing with each other. Along with incredible sound power created by every brass instrument, upon bombastic soundgarden brilliant sparks are thrown off here and there. And yes, their massive identities should be strictly supported by the two synchronizers - aka the rhythm section Gary PEACOCK (bass) and Sonny MURRAY (drums) ... their rhythm basis is improvised and at the same time intriguing and impressive. It's no strange if any of them go ahead or strike directly. Every giant is exactly a giant, without any suspicion.

Listening to this album has notified me that I sincerely love avantgarde jazz or avantgarde rock.

CECIL TAYLOR Nefertiti, The Beautiful One Has Come (2xLP)

Boxset / Compilation · 1975 · Avant-Garde Jazz
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js
”Nefertiti the Beautiful One has Come” is an interesting album for Cecil Taylor fans, because it shows the artist in transition and still working out his approach to the piano. By the time we get to the 70s, Taylor will have refined his ability to present explosive ideas cascading in constant evolution, much like waves pounding a rocky shore, but back in 62, when this set was recorded, you can still hear some of Taylor’s roots in the blues and hard bop. Elements of Ellington, Monk and McCoy Tyner all make their appearance on here, alongside Taylor’s expected unique skittish barrages that sound like no else.

Cecil’s two band mates on here, Jimmy Lyons on alto, and Sonny Murray on drums, make up one of the best and most sympathetic bands Taylor ever worked with, and the three together make up one of the top trios of early 60s jazz. Taylor’s two sideman are very much with him in the ‘new freedom’ of the early 60s, but even more than Taylor, they reveal a lot about where they came from. Lyons is obviously a fan of Charlie Parker, and quotes from him constantly, other possible references might include Johnny Griffin and Ornette Coleman. Meanwhile, Murray’s approach to free rhythm sounds like the fills of Max Roach and Roy Haynes strung together without the parts where they just keep time. Sometimes this trio sounds like Monk’s band when it featured more outside saxophonists like Pat Patrick.

All of the tracks on here are good, and most are what you would expect from Taylor, but some of the odder more unexpected cuts worth mentioning include “D Trad, That’s What”, on which Taylor pounds out some noisy barroom blues for a while, and the well known standard “What’s New”, which has Taylor actually playing to the chord changes of the original, but very much in his own way. As far as the ‘free’ playing goes, the band really hits their stride on the two cuts that make up side four.

The sound quality on here is not great, and the piano Cecil has to play is saloon style out of tune, but most recorded avant-garde jazz back then sounded like this, in fact, bad production almost seemed to be a point of pride, as if to deny any commercial concerns whatsoever. Still, at a reasonably loud volume, this record doesn’t sound too bad, but at low volumes, it can sound murky.

WADADA LEO SMITH Wadada Leo Smith & John Lindberg : Celestial Weather

Album · 2015 · Avant-Garde Jazz
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snobb
Finnish TUM label is a home for US giant trumpeter and composer Wadada Leo Smith most significant European recordings,mostly all monumental by form and size (incl. some double-CD studio releases). Smith's most current music isn't easy accessible,but is uniquely deep and represents one of the best modern creative genres borders crossing jazz around.

Wadada's newest TUM release isn't another monumental work as we could expect though. "Celestial Weather" is a collection of bare-naked minimalist duets with Smith' regular acoustic bassist John Lindberg, all duo's originals.

Divided to three parts, "Celestial Weather" demonstrates another side of Wadada - with same bassist he plays for decades Wadada feels very comfortable on almost chamber pre-composed pieces and very free-improvisational songs.

Recorded just by trumpeter and double bassist duo,this album is surprisingly filled with music. Sounds are clear and often quite ascetic,but it is not an album where nothing happens or where silence is a big part of recorded sound. It is quite different from Smith more bombastic works and probably not every fan of Great Lakes Suites or Ten Freedom Summers will like "Celestial Weather", but in on its own way this new release is a really important example of Wadada's creative legacy.

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