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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ERIC DOLPHY 'Out to Lunch!' Album Cover 'Out to Lunch!'
ERIC DOLPHY
4.60 | 56 ratings
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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
HENRY THREADGILL
4.77 | 7 ratings
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JOHN COLTRANE Last Performance at Newport July 2 1966 Album Cover Last Performance at Newport July 2 1966
JOHN COLTRANE
5.00 | 3 ratings
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GRAHAM COLLIER Darius Album Cover Darius
GRAHAM COLLIER
4.88 | 4 ratings
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GRACHAN MONCUR III Some Other Stuff Album Cover Some Other Stuff
GRACHAN MONCUR III
4.71 | 8 ratings
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PHAROAH SANDERS Elevation Album Cover Elevation
PHAROAH SANDERS
4.66 | 10 ratings
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PHAROAH SANDERS Karma Album Cover Karma
PHAROAH SANDERS
4.56 | 34 ratings
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CECIL TAYLOR Silent Tongues (aka I Grandi Del Jazz) Album Cover Silent Tongues (aka I Grandi Del Jazz)
CECIL TAYLOR
4.75 | 5 ratings
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WAYNE SHORTER The All Seeing Eye Album Cover The All Seeing Eye
WAYNE SHORTER
4.59 | 14 ratings
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ERIC DOLPHY Last Date Album Cover Last Date
ERIC DOLPHY
4.75 | 4 ratings
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JOHN COLTRANE Offering: Live At Temple University Album Cover Offering: Live At Temple University
JOHN COLTRANE
4.83 | 3 ratings
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PHAROAH SANDERS Live at the East Album Cover Live at the East
PHAROAH SANDERS
4.83 | 3 ratings
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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

ANDREW CYRILLE Andrew Cyrille / Jeanne Lee / Jimmy Lyons : Nuba

Album · 1979 · Avant-Garde Jazz
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snobb
Free jazz, as an example of a cultural component of social protest movements, came among the very first such musical genres and experienced its peak as such during late 50s - early 60s. Upcoming rock music era, which in big part was a product of that very same jazz/blues, exploded much louder and wider with Woodstock and the Sorbonne student's riots in the late 60s, and stayed as a dominate part of Western civilization's counter-culture for decades to come. Free jazz at the late 60s - early 70s silently returned back to where it came from - urban underground culture. As a result, "Woodstock aesthetics" survived as a renown cultural phenomena till now (fortunately, all tries to revitalize it finished unsuccessfully), free jazz aesthetics is now known between a small circle of fans and followers.

"Nuba", recorded by three true masters of the genre, and released in 1979 (a decade too late, I would say), is a great example of that unique atmosphere of the time and place. The unorthodox trio consists of drummer Andrew Cyrille, (who is active till now and is responsible for some best avant-garde jazz albums, released in last few decades), alto saxophonist Jimmy Lyons and possibly the best ever free jazz vocalist Jeanne Lee (both passed away). The album's music is of free form, but contains a lot of tune snippets, and partially works as an accompaniment to Jeanne's poem. There is no leader, all of the musicians are equal collaborators with enough space for each. Cyrille builds aerial minimalistic rhythm constructions, Lyons saxophone is warm and soulful, often recalling the singer's vocals. Lee's singing is excellent - partially wordless, it builds a very spiritual atmosphere on the album of free form and with a lot of free space.

Differently from many more traditional jazz albums coming from the same time, "Nuba" doesn't sound as classic or dated, it is more timeless music from a parallel reality, far not everyone even knows it existed. Those interested to find out what it was, can start right here. Originally released on vinyl in Italy only on Black Saint label, the album has been re-issued on CD in 2009, so it's still possible to find a copy.

BENNIE MAUPIN The Bennie Maupin Ensemble : Penumbra

Album · 2006 · Avant-Garde Jazz
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snobb
Multi-reedist Bennie Maupin made his name playing on Miles Davis' "Bitches Brew", and later being a member of Herbie Hancock's funky Headhunters. His moment of real glory is still "The Jewel in the Lotus"(1974) - Maupin's debut as a leader and one of the very best jazz fusion albums ever recorded. In 1977 he released "Slow Traffic To The Right" - strong fusion album, recorded in a key of its predecessor, another year later - less successful, "Moonscapes". Than Maupin stayed in silence for twenty years, returning for " Driving While Black..."(1998), and for the upcoming quarter of the century he released only four more albums. But Bennie was still more active as a collaborator on other artists releases.

Having a cult status among fans of early fusion, Maupin's extremely rare more current albums didn't attract a lot of attention, and in the case of "Penumbra", it's a real shame. Released on the avant-garde jazz label, Cryptogramophone, and recorded in California, this album contains an excellent incarnation of Maupin's music, in a new key and with a new band. Maupin predominantly plays bass clarinet and tenor sax here, the band contains excellent Polish bassist Darek Oles, LA-based veteran drummer Michael Stephans and percussionist Munyungo Jackson.

The album's music is mostly midtempo, very percussive and groovy, quite minimalist and almost chamber. All but one of the songs are Maupin originals ("Penumbra" is credited to all quartet members). Maupin's solos lead each song, sometimes lyrical, soulful, or in other cases - more meditative. It sounds very much as a seasoned veteran telling his life story from the distance of years, with maturity, but without sentimentality or melancholy. Very often Maupin's solos sound as monologues. Surprisingly enough, Bennie's playing is free, "Penumbra" is his freest album for sure. Rhythm section is very supportive, intuitive end intelligent adding lots of modern textures to this intimate music.

Along with "The Jewel in the Lotus", "Penumbra" is one of the very best Maupin albums, a real secret jam.

WHIT DICKEY Whit Dickey / Mat Maneri / Matthew Shipp : Vessel In Orbit

Album · 2017 · Avant-Garde Jazz
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snobb
New Millennium, partially the second decade, in creative jazz is very much a drummer's time. For long time drummers were known mostly as collaborators no leaders with few exemptions. During last decade or more we experienced a peak of drummers as leaders on a world jazz scenes(as rule - drummers-composers). Many of them are responsible for most interesting jazz coming from last two decades. Whit Dickey is one of them.

Seasoned New-York-based drummer Whit Dickey was better known as Matthew Shipp and David S. Ware bands member. In 1998 he started leader's career. "Vessel In Orbit" is his return to AUM Fidelity, the label, responsible for his debut as leader, and his first new band almost for a decade. Dickey trio with his old collaborator pianist Matthew and violist Mat Maneri plays complex music, demonstrating almost intuitive interplay between members.

The music is dark, free, not too loud and well organized. Compositions are credited to all trio members, still central album's part sounds more like improvisation. There are some chaos, and some beauty in album's music, and looking from six years(and some more excellent Dickey albums, released later)distance, one can see where Dickey's glorious period started. Very soon the drummer will concentrate on more composed music and will release several albums(with different small bands)which will push him on the forefront of todays creative jazz scene.

PHAROAH SANDERS Tauhid

Album · 1967 · Avant-Garde Jazz
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snobb
From a distance of 50+ years, Pharoah Sander's second studio album (and his Impulse! debut) sounds a bit different than it did some decades ago. Sanders made his name working with John Coltrane on his avant-garde jazz albums, but it's Alice Coltrane's "astral jazz" which sounds much closer to the music on "Tauhid".

Just three songs, of which "Upper Egypt and Lower Egypt", the opener, lasts more than 16 minutes. Long slow-tempo piano/guitar intro sounded great in spiritual jazz meditative fashion of the time, but today is obviously too long. Sanders' sax starts after 9th minute only and it sounds mellow and relaxed, far from his signature explosive free jazz soloing. There are lot of tunes snippets on this song (sometimes recalling Coltrane's "A Love Supreme"), and even more - Eastern rhythms. The other two songs (vinyl edition side B) are a bit more energetic, both contain extravagant world rhythms. To be precise, there are only a few moments of Sander's more energetic, almost harsh sax soloing on all three tracks. At the same time, there are some of his flute soloing as well, which is an acquired taste mostly.

Sanders will develop "spiritual jazz" on his later releases, often moving towards post-bop or even r'n'b. "Tauhid" sometimes had almost cult status as his impressive solo beginning. It still is his important work, showing from where his music came.

SOFT MACHINE Drop

Live album · 2009 · Avant-Garde Jazz
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Mssr_Renard
This is actually a very good archival live album. A bit to loud and the bass is very thumping. But you can hear the duelling organs, saxophone and drums just fine.

The album seems like one long improvisational jam. Amidst the many, many archival live-albums it proves difficult to discover the really good ones. Well here is good one. The band plays a wild set bordering fusion and free jazz at times.

Of course the soundquality is not perfect, but this is an old recording (1971!) and I am very happy it survived and was released. When Wyatt left the band and before Marshall joined, Phil Howard played drums for five months, wich makes this album even more special.

This album should be in every Soft Machine collection (you can purchase it via Bandcamp) and in my opinion is even essential for any fusion and/or jazzrock collection.

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