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!'
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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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GRAHAM COLLIER Darius Album Cover Darius
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GRACHAN MONCUR III Some Other Stuff Album Cover Some Other Stuff
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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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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

KIRA KIRA Bright Force

Live album · 2018 · Avant-Garde Jazz
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snobb
Pianist Satoko Fujii is one among best internationally known creative jazz artist from Japan leading numerous projects (usually incl. her husband trumpeter Natsuki Tamura). Smaller groups as rule have each own name so Fujii/Tamura quartet with French duo of Peter Orins(drums) and Christian Pruvost(trumpet) is known as Kaze,all-Japanese drum-less quartet with Yasuko Kaneko(trombone) and Kazuhiko Tsumura(guitar) is known as Gato Libre(Satoko plays accordion not a piano here).

Kira Kira is Satoko's newest project to date where usual pair of Fujii and Tamura is combined with renown Australian keyboardist Alister Spence and young Japanese drummer Ittetsu Takemura who is a regular member of Satoko's big bands.

"Bright Force", project's debut, contains two polar parts both coming from same concert recorded at Knuttel House in Tokyo in 2017. Because of problems with sound quality recorded material has been seriously edited, putting the gig's opener meditative micro-tonal three-part suite "Luna Lionfish" to the end of the album and bringing energetic "Because Of The Sun" and "Nat 4" at the beginning. Not like the recordings sound became better but loud explosive two first pieces with soloing trumpet on the front prepare the listener to easier acceptance of knotty but not so catchy suite's entry.

Main music's characteristic on whole album is still a tension, build by Tamura's freer trumpet solos and Spence's Rhodes passages. The drummer is a rock-heavy and Satoko's percussive piano work adds even more muscularity in a sound. Add lot of Spence's electronic effects for full picture.

Fujii,Tamura and Spence previously already played together as quartet(with The Necks drummer Tony Buck)so there is a feel of working band in Kira Kira music.

A bit more ascetic and more complex than usual Fujii's music renown from her American,European or Japanese Orchestras,"Bright Force" is another strong release of prolific Japanese pianist. Celebrating her 60 jubilee Satoko promised to release a new album every month during all 2018(Kira Kira's debut is one of them). Big part of her program is already released, mostly all of them contains an interesting music. Waiting for more to come.

TOMASZ STAŃKO Tomasz Stańko Quintet : Wooden Music I

Live album · 2022 · Avant-Garde Jazz
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snobb
Polish trumpeter Tomasz Stańko, who passed away in 2018, was one of the best European jazz musicians of the last half-century. For a few decades, his recordings, released by the prestigious German ECM label, were sort of the label's etalon of contemporary European jazz of the highest class. Stańko's early music is lesser known outside of Poland, and not every fan knows that more than a half-century ago Stańko started as a free-jazz artist. His first release as a leader came in 1970 (“Music for K”), and then Stańko spent months with his quintet touring Germany.

At that time Stańko played day-to-day firstly in a hippies commune in Würzburg, then in clubs of Darmstad. If the quintet's debut contains quite a composed music (with a lot of free improves as well), the quintet of exactly the same line-up on the German tour plays much freer, in fact fully improvised music. True, alto sax player Zbigniew Seifert switches from sax to violin here.

This, new for band music, played on tour by the collective, based on "wooden instruments" with only the metallic addition of Tomasz Stańko's trumpet (and flutist Janusz Muniak's occasional use of tenor saxophone), Stańko called a "wooden music". The album of the same title offers never-before-released music, recorded in the summer of 1972 and found in Radio Bremen archives.

Five album's pieces, lasting between 3 and 21 minutes, are all free and burning. Heavily based on double bass and acoustic violin free soloing against each other, there is a lot of fire in this album's music. Stanko plays extended fast-tempo free solos, anchored by a rock-heavy drummer. Fully improvised music contains tuneful snippets and is well framed in a jazz-rock fashion, which makes it quite accessible.

Soon the same quintet (with a new bassist German Hans Hartmann) will record in Germany their first significant album "Purple Sun", already much better organized and with a strong fusion influence."Wooden Music I" is important evidence of a great artist's formation period. Not recommended to numerous fans of Stańko's chamber ECM music though.

GARD NILSSEN Gard Nilssen's Acoustic Unity : Firehouse

Album · 2015 · Avant-Garde Jazz
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snobb
During the last decade, about a dozen capable drummers made their name by recording ambitious albums playing jazz with an accent on composition, complex arrangements and including elements of contemporary non-jazz music. Tyshawn Sorey and John Hollenbeck are just two to be mentioned among others. Almost intuitively, from every new jazz album recorded by a collective led by the drummer, one can expect jazz based on modern composition first of all.

Norwegian drummer Gard Nilssen Acoustic Unity's "Firehouse" is different. A traditional acoustic trio with Swede, double bassist Petter Eldh and Norwegian sax player Andre Roligheten plays free jazz, coming right from the times half a century ago.

"Firehouse" is without a doubt a drummer's album. Nilssen, who is known for his work with Puma and Cortex bands, plays dense, knotty, and often fast high-energy jazz, with a lot of tuneful sax soloing over it. At their hottest moments, Acoustic Unity recalls the other Nordic trio, The Thing. On the other hand, the sax player and the bassist both are noticeably bop-influenced, so there is a lot of music sounding very much as if it comes from the free-boppers of the late 70s or early 70s.

Same way as decades ago, music of such kind is attractive mostly because of its freedom, telepathic interplay, and some organic freshness coming from jazz roots.

ARCHIE SHEPP Live in Antibes (Vol. 1)

Live album · 1971 · Avant-Garde Jazz
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snobb
I have no idea how Antibes looked in 1970, but I believe its great pine forests, sandy beaches and blue sea water were all the same as today. A beautiful town in French Rivera is a piece of heaven on earth. Even those too lazy for a longer walk can enjoy fantastic views from Plage du Ponteil to the sandy beach with palms (looking to the right) or picturesque fortification ruins over the blue sea watching from Boulevard du Maréchal-Leclerc to the left. On sunny days (and days are almost always sunny there) Antibes looks more like the Caribbean than a European seaside town.

This concert, Archie Shepp Live in Antibes Vol 1, is recorded in Juan-les-Pins - formerly a small resort town near Antibes, now - a luxury Antibes seaside district. Jazz fest has been a part of summer Antibes life for decades (and continues every July). The atmosphere is extraordinary - sun, sea, sand, and palms, a small ancient old-town nearby, a lot of cafes and restaurants, but first of all - natural beauty. Many world-class jazz musicians played there (some are recorded as well).

Shepp is in great creative form here, he sounds not as angry as just a few years before, but more inventive, with a lot of improvisation. He is at the peak of his free jazz period, which soon will leave for a more conventional sound.

"Live in Antibes vol.1" contains just one long song, "The Early Bird" - I didn't find that song recorded by Shepp before on any album. The band isn't his regular American one though - no Sonny Murray, Alan Silva, Grachan Moncur III or cornet player Clifford Thornton can be found here. The only link with Shepp's American past is trumpeter Alan Shorter, the rest of the band is completed by members of Claude Delcloo’s (a French drummer and BIG label owner) Full Moon Ensemble. A bit unusual is the presence of guitarist (Joseph Déjean) on board.

Originally a broadcast for French O.R.T.F. radio, the album's sound quality is only very average. Shepp's sax is placed in the very front, the other instruments' sound is a bit muddy and comes somewhere from backstage. Two days later Shepp will play another gig in the same place, and another one-song-long album will be released as "Live In Antibes Vol.2" then.

Both these releases, which offer free music sounding over sandy beaches, pine forests, and blue sea are a piece of emotional evidence from (already moving to the end) a unique era of free jazz.

OLIVER LAKE Life Dance Of Is

Album · 1978 · Avant-Garde Jazz
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js
Oliver Lake was an early participant in the St Louis avant-garde scene, and later a major figure in the NYC loft scene of the early 70s. By the time the late 70s rolled around, he like so many others in the free jazz movement, were starting to diversify their sound as free jazz was becoming a bit predictable. This leads us to the album, “Life Dance of Is”, a mostly avant-garde collection with a good dose of free jazz, but also some other interesting eclecticisms. It’s a very talented band that Oliver assembled here, many of these musicians he had worked with before and would continue to perform with in the future. We have Michael Gregory Jackson on guitar, Anthony Davis on piano, Pheeroan ak Laff on drums and some tracks include Leonard Jones on bass.

The album opens with the sparse sounds of “Rite-Ing” in which various band members play composed snatches of melody in between long moments of silence. Follow up track “Comous” is a little more in the free jazz tradition, but implied beats give this one a funhouse rowdy nature, like a hard bop jam gone insane. Side one closes out with “Shu-Ful” another fun one that has the band playing to a punky two beat shuffle and laying down wacky solos. Oliver seems to be channeling Eric Dolphy on this one.

Side two opens with “Tfon” and an impossibly difficult ensemble bebop line before the group lays into some free improv. Towards the end, Anthony Davis plays what sounds like a closing phrase but then keeps repeating it as the others join in hammering this phrase to death. “Change One” is a one chord reggae vamp with some weird vocals from Lake and bluesy country harmonica from Jackson. The album closes with a spoken word collage that would sound right at home in a modern concert hall setting. Interesting album, sometimes dry and intellectual, and at other times boisterous and funny. This may not have ever been re-issued on CD or in any other format, so look for it where used vinyl is sold.

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