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 | 55 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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PHAROAH SANDERS Elevation Album Cover Elevation
PHAROAH SANDERS
4.72 | 9 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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PHAROAH SANDERS Karma Album Cover Karma
PHAROAH SANDERS
4.55 | 33 ratings
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GRACHAN MONCUR III Some Other Stuff Album Cover Some Other Stuff
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4.69 | 7 ratings
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CECIL TAYLOR Silent Tongues (aka I Grandi Del Jazz) Album Cover Silent Tongues (aka I Grandi Del Jazz)
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4.75 | 5 ratings
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WAYNE SHORTER
4.57 | 13 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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JOHN COLTRANE Offering: Live At Temple University Album Cover Offering: Live At Temple University
JOHN COLTRANE
4.83 | 3 ratings
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SUN RA Sun Ra And His Astro Infinity Arkestra : Atlantis Album Cover Sun Ra And His Astro Infinity Arkestra : Atlantis
SUN RA
4.53 | 13 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

SUN RA Sun Ra & His Solar Arkestra : Secrets of the Sun

Album · 1965 · Avant-Garde Jazz
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js
It is so nice that you can go in record stores now and get classic Sun Ra records in brand new condition. “Secrets of the Sun” originally came out in 1965, but it has been recently re-issued and is available at better record stores today. The cover credits this album to Sun Ra & His Solar Arkestra, but actually this is one of those Sun Ra small group albums, which are often special and unique. If you are familiar with “Angels and Demons at Play” and “Night of the Purple Moon”, then you are familiar with some of Sonny’s small group albums, but unfortunately, “Secrets” is not quite as good as those two masterpieces, but its not bad either. Like all 60s Sun Ra albums, the recording quality is not great, the piano is out of tune, and the mixing is just bizarre, but all these things are standard trademarks of classic Sun Ra.

The first two tracks on side one feature somewhat laid back semi-free jazz played over vague rhythmic ostinatos, with performers wandering in and out of the mix. Ahrt Jnkens (possible fake name) plays the ‘space voice’, which sounds like someone vocalizing through a horn and changing the sound with a plunger. It sounds like Ellington’s horns on acid and downers. It’s a little bit annoying but seems to fit in with the vibe okay. Closing track, “Space Aura”, is the closest thing to a real jazz song on here as the combo hits an off-kilter hard bop groove while Pat Patrick, John Gilmore and Marshall Allen turn in solos.

Moving on to side two, on “Love in Outer Space”, Marshall Allen solos on the ’morrow’, which sounds a lot like a bass clarinet, while accompanied by somewhat faint and distant percussion. “Reflects Motion” is the closest track to sounding like classic 60s free jazz, with John Gilmore and crew sounding similar to what Archie Shepp was doing during this time period, but of course it was Archie who learned all this from John in the first place. This track has a bizarre opening as Gilmore and Marshall Allen play a fast and lengthy unison line that sounds like a cross between be-bop and an atonal tone-row concoction. Throughout this album Sun Ra focuses his piano solos on playing dense block chords in interesting rhythmic juxtapositions. It is somewhat similar to things Dave Brubeck would try, but Dave sounds so square and forced compared to what comes to Sonny with ease. “Secrets” is a good album for Ra fans, its just unique enough to add another facet to the Sun Ra legacy. it’s an interesting album, but not a great one.

KEITH JARRETT Fort Yawuh

Live album · 1973 · Avant-Garde Jazz
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js
Throughout his lengthy career, Keith Jarrett has been one of the most important pianists of our time, but there was something different about his youthful playing that you don’t hear as much over the years. Before the Koln concert, the classical performances and the association with the somber 80s ECM sound, Jarrett’s playing was a lot funkier and bluesy soulful with plenty of gospel and roots country riffs to go around for everyone. Its from this earlier phase of his career that we get the loose, experimental and mostly high energy live concert known as “Fort Yawuh”. Joining Keith on this concert is his very talented, ‘American Quartet”, with Dewey Redman on tenor, Charlie Haden on bass and Paul Motian on drums. Part-time member, Danny Johnson, joins on percussion.

The album starts with the free post bop of “If the Misfits (Wear It)”, which opens with what sounds like the musicians imitating a North African field recording before going into high speed free-bop mode. Keith’s piano runs are both lightning fast and harmonically interesting at the same time. Dewey follows him with a strong tenor solo that shows the Coltrane and John Gilmore influences of the time. The album title track follows, and features the piano trio in free mode, but when they kick into an African rock groove, Redman joins with a Chinese musette solo that works really well with this sort of non-western rhythm. Side two kicks off with the gospel groove of “De Drums”, halfway through the track the rhythm picks up the tempo as Redman leads the band in a high energy soul jazz romp. Album closer “Still Life, Still Life”, is a ballad, but during Jarrett’s opening solo improv, he takes the tune into some very complex twisting turning twelve tone treatments.

The salient features on this album are enthusiastic energy and an open mind towards any possible musical influence. This group pulls from all the various musical influences described above, yet all those influences come together to make one sound and nothing sounds contrived or unnatural. There is a real joy at work in this album that is rare to come by.

KOBE VAN CAUWENBERGHE Ghost Trance Septet plays Anthony Braxton

Album · 2022 · Avant-Garde Jazz
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snobb
Anthony Braxton (born June 4, 1945) is one of the most respected of creative contemporary music composers and musicians, still active today (just a few months ago he played live in my hometown with his Saxophone Quartet). His early works (coming from the 60s and 70s) are mostly from the avant-garde jazz field, and some are accepted as genre standards. Later Braxton moved towards cross-genre compositional forms, usually related with jazz, but containing elements of contemporary concert hall music, some ancient folk, etc.

Braxton's one remarkable experimental work is his Ghost Trance Music series, inspired by 19th century Native American Ghost Dances and written between 1995 and 2006. The concept of GTM composition is based on idea, that there exists a "primary melody", which Braxton describes as "a melody that never ends". This line of music is written to be played in unison by any performer who wishes to participate in the "ritual circle dance". There is more information on Braxton's musical legacy presented in this nicely designed "organic" CD package's booklet, but generally one doesn't need to learn much before listening. The music itself is complex, but quite accessible.

Belgian guitarist Kobe Van Cauwenberghe, who created the project 'No [more] Pussyfooting', with music by Brian Eno and Robert Fripp, and is a member of electric guitar quartet Zwerm, is currently affiliated with the Royal Conservatoire Antwerp for an artistic research project on the music of Anthony Braxton. In 2020 he released "Ghost Trance Solos" - a solo guitar album with three Braxton compositions from Ghost Trance Music. "Ghost Trance Septet plays Anthony Braxton" is a logical continuation of Kobe's work - four Braxton Ghost Trance Music series compositions, recorded by skilled Belgium-Danish septet.

More current Braxton music is rarely played by other musicians and it's a shame. Different from dominating composers, who often combine elements of different genres in one, Braxton returns back to a past trying to find the roots and the rules and codes, and uses what he finds in his new written music, on a genetic level, not like inspiration or imitation. As a result, his music sounds as an engineered work, mechanically, but not formal or dry, since each brick has its own lively soul.

Van Cauwenberghe's septet of guitar (who in moments demonstrates that he is familiar with shredding guitar techniques playing in rock bands), bassist, drummer, pianist, sax player and trumpeter play selected Braxton compositions with respect and their own touch at the same time. For me, the program sounds as if six skilled professionals build a modern building - a unique one, with style and respect to the past, but without nostalgia, bravely looking ahead. Four compositions, 95-minutes of music, recorded on two CDs, happen to be an intriguing listening, which surprisingly lasted less then it was expected. Nicely realized great idea - hope we will hear more Braxton compositions, recorded by younger generation artists more often.

SUN RA Concert for the Comet Kohoutek

Live album · 1993 · Avant-Garde Jazz
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js
“Celebration for the Comet Kohoutek” is a live concert recorded by the Sun Ra Arkestra on December 22, 1973 at New York City’s Town Hall. The first side of the album is a fairly good recording, at least by Sun Ra standards, of an excellent performance. Side two starts off okay, but then falters significantly for the last half of that side. After a brief opening, side one kicks off with the well known “Astro Black”, sung by the Arkestra veteran, June Tyson. From here the band goes into mixtures of hard bop grooves and screeching free jazz with fiery solos from many of the horn players. Specific credits are not given, but possibly that is Kwame Hadi behind those fiery trumpet solos. As for the other players, you can expect the usual suspects such as Marshall Allen, Danny Davis, John Gilmore, Pat Patrick and the rest of the crew.

Halfway through this side Sun Ra steps in with an incredible analog synthesizer solo. If you have heard his early meanderings on “My Brother the Wind”, you will not believe how much Ra’s technique on the synth developed after those early experiments. He must be using a fairly complex setup because the sounds he is producing, and the way he is able to pull up endless variations, is far beyond what a Mini-Moog is capable of. I know Sonny used the Korg MS-20 some, a pair of those linked together could probably pull off these sort of cross-modulated wave forms. After Ra’s solo fades, the percussion section kicks in for an aggressive African groove over which Sonny at first supplies something close to classic soul jazz riffs. Ra playing in this style is very rare and its quite a treat for long time fans of his, but soon he moves back to supplying more elctronic sounds to the percussion celebration.

After a brief Arkestra intro, side two goes into more synthesizer excursions from Sonny, and once again his technique, control and imagination are very impressive. The way in which the tone colors constantly morph and change recalls Milton Babbit’s “Ensemble for Synthesizer”. I would not be surprised if Ra was very familiar with that landmark electronic piece. After the lengthy solo, the band tries to reappear, but something has happened, they sound like they are in another room way down the hallway. The last half of side two is given to call and response vocal numbers, including the over recorded, “Space is the Place”. These songs get tedious quickly because the arkestra is barely audible while the vocalists are way too loud. When one singer starts doing lounge club RnB type vocals on “Space is the Place”, its time to go ahead and hit the tone arm eject. Overall, possibly the most salient feature on this album is Sun Ra’s extended synthesizer solos. I do not know of any other record of his that contains such a wealth of synth colors. Other albums of his often sound like he is just learning how the device works.

WHIT DICKEY Astral Long Form : Staircase In Space

Album · 2022 · Avant-Garde Jazz
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snobb
Yesterday I used the rare opportunity to visit a retrospective exhibition of renown avant-garde artist, probably better known in Europe than in the States, Marina Abramovic. I made a 200 kilometres-long round trip on a warm summer day, and it was worth it. There were many Abramovic filmed happenings demonstrated on the big screens in a modern art gallery, in total darkness, many screens placed at the same hall. There was one, where she is cutting a five-pointed star around her belly button with a razor blade (so-called "Thomas Lips"), filmed in the year 1975. It was very impressive emotionally (knowing that Marina was born in Belgrade, Serbia, in a family of high level Communist party functionaries of former Socialist Yugoslavia), but at the same time it looked like it's coming from very old past. From the times, when the world was divided between modernists and conservatives, at a time of aggressive feminism, sexual revolution and lots of freedoms coming soon. Quite surprisingly, looking back from now at these protests, and the revolution looks very "organic", and let say "natural". And yes, free jazz was a part of it.

In a modern world, which is thousands years away, we understand all these freedoms as natural, but in fact, we are living in a much more conservative world. We have just a few formal restrictions, but we are not really free. Our lives are complex, and nowadays free jazz is not all that free anymore.

American drummer Whit Dickey is one the great figures of New Millennium creative jazz, working with many leaders of the scene. On "Astral Long Form: Staircase In Space" Dickey leads a quartet with sax player Rob Brown, viola player Mat Manieri and bassist Brandon Lopez. Their music is free, but also well organized, clever, knotty and still dreamy at times. One can hear some (possibly) pre-composed pieces here and there, but it still sounds as spontaneous very much. Tagged by the artist as "channeling ecstatic cosmic vibration", it has nothing too much in common with space psychedelia of the 60s. Being still rooted in Coltrane's legacy, it is very a modern take on things, the music, which is miles away from free jazz of "summer of love" era, its not "organic" or "natural" at all. And it is not naïve, it comes from our clever and already slightly tired world, much more complex than last century's 60s.

And it is among best soundtracks of today's life too.

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