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European free jazz
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European free jazz
European free jazz is a part of the global free jazz scene with its own development and characteristics. It is hard to establish who are the founders of European free jazz because of the different developments in different European countries. One can, however, make an argument that European free jazz took its development from American free jazz, where musicians such as Ornette Coleman revolutionised the way of playing. As the British drummer Eddie Prévost, of long-standing improvising ensemble AMM, has put it, 'the music of Ornette Coleman and Albert Ayler gave us permission to disobey.' Yet at much the same time, there were significant European innovations: for example, the same year as Coleman's Free Jazz album was released (1961), in the UK the Jamaican alto saxophonist Joe Harriott released the first of his experimental albums, Free Form. It was recorded in late 1960, the month before Coleman's.
Free jazz got its name from the album Free Jazz (Atlantic, 1961) by Ornette Coleman to describe American avant-garde jazz of the 1960s. Besides "avant-garde", it was called "the New Wave", "the New Thing", "action jazz", and in Europe "improvised music". Germans played a form of free jazz that had something in common with the aleatoric music of Bernd Alois Zimmermann and was performed by Derek Bailey, Joachim Kuhn, Albert Mangelsdorff, Manfred Schoof, John Surman, and Alexander von Schlippenbach.
Free jazz was unpopular and didn't sell well. It was viewed as a musical, political, and social backlash to the structure of jazz and of American society at the time. "For some performers the style was loosely linked to the Black Power movement in the USA, partly because of the radical political outlook of some of its practitioners and advocates (e.g., Archie Shepp and LeRoi Jones – later known as Amiri Baraka) and partly owing to the explosive, expressionistic nature of the music itself". Due to the lack of commercial success of the free jazz music as well as the racial issues, like the Civil Rights Movement, many American free jazz musicians began touring the European continent, playing and spreading their new avant-garde style throughout Europe. Jazz musicians like Ornette Coleman, Albert Ayler, Don Cherry, Bud Powell, Don Byas traveled and performed throughout Europe. In contrast to the lack of commercial success in America, many American free jazz musicians experienced both commercial success and acceptance in Europe, leading to tours of Europe and extended residencies. "A number of jazz musicians migrated to other parts of the world, where they received an opposite response, being considered the ultimate expression of high culture. Thus, many of them remained in exile, and they enjoyed unparalleled success in France, Germany, Japan, Scandinavia, and the Netherlands after the world wars".
Although much of American public believed this music to be structure-less, provocative, and ridiculous, some European listeners enjoyed the "dissonant and seemingly chaotic music". "Many Europeans viewed free jazz as the descriptor most used by the media on both sides of the Atlantic for a musical movement that ignited like a flare in the African-American... and Western European...jazz communities. The social context in both cases included a reaction by musicians against a mainstream jazz culture they felt to be colluding with an oppressive Western hegemony that was intrinsically racist, historically imperialistic and exploitive, venally decadent and vicious as its power was challenged". Due in part to the provocative nature of the music as well as the freedom it granted both the musician and the listener, many Europeans associated the backlash toward American society conveyed in free jazz with the counter-culture and anti-imperialist movements in Europe during the late 1960s.
Contrary to the societal reaction free jazz music received in the United States, many Europeans (musicians, critics and young people alike) identified with this style of music. While many African-Americans associated this avant-garde style with the Civil Rights Movement in America, many Europeans in the 1960s, especially college-aged students, associated this style of music with anti-colonialist movements occurring throughout Europe at the same time.
The music under the "free-jazz" rubric – that of Ornette Coleman, Cecil Taylor, Albert Ayler, John Coltrane, Sun Ra and their bands, to name the major pioneers with the most impact in Europe – ignited the jazz scenes there in the mid-to-late 1960s. The subsequent free-jazz movement in their countries was linked to the events and spirit of the 1968 student protests and riots in Paris and Berlin (the " '68ers") as it was to new assertions of black identity in America. The racial conflict specific to the United States translated in Europe to an international radical leftism – one with a youthful white more than an angry black face – hostile to Western imperialistic capitalism and faux-culture.
As American free jazz musicians continued to play throughout Europe, the free jazz genre and the cultural movements in Europe associated with it began to spread as well, influencing many European jazz musicians to imitate the avant-garde style of playing as well as adopting its techniques to create their own individual sound. "Reflecting their diverse backgrounds, these musicians often blend personal narrative reminiscent of an Afrological perspective with some sonic imagery characteristic of European forms spanning several centuries".
The introduction of this new, avant-garde style influenced many European jazz musicians like the German saxophonist Peter Brötzmann, who is known as one of the first European free jazz musicians. The founders of European free jazz usually came from a classic jazz background and then went over bebop and hard bop into free jazz. Brötzmann began playing free jazz in 1964, and he formed a quintet with "Peter Kowald and Sven-Åke Johansson. The following year he toured Europe in a quintet led by Mike Mantler and Carla Bley, and they began an association with the Globe Unity Orchestra that lasted until 1981".
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European free jazz
European free jazz is a part of the global free jazz scene with its own development and characteristics. It is hard to establish who are the founders of European free jazz because of the different developments in different European countries. One can, however, make an argument that European free jazz took its development from American free jazz, where musicians such as Ornette Coleman revolutionised the way of playing. As the British drummer Eddie Prévost, of long-standing improvising ensemble AMM, has put it, 'the music of Ornette Coleman and Albert Ayler gave us permission to disobey.' Yet at much the same time, there were significant European innovations: for example, the same year as Coleman's Free Jazz album was released (1961), in the UK the Jamaican alto saxophonist Joe Harriott released the first of his experimental albums, Free Form. It was recorded in late 1960, the month before Coleman's.
Free jazz got its name from the album Free Jazz (Atlantic, 1961) by Ornette Coleman to describe American avant-garde jazz of the 1960s. Besides "avant-garde", it was called "the New Wave", "the New Thing", "action jazz", and in Europe "improvised music". Germans played a form of free jazz that had something in common with the aleatoric music of Bernd Alois Zimmermann and was performed by Derek Bailey, Joachim Kuhn, Albert Mangelsdorff, Manfred Schoof, John Surman, and Alexander von Schlippenbach.
Free jazz was unpopular and didn't sell well. It was viewed as a musical, political, and social backlash to the structure of jazz and of American society at the time. "For some performers the style was loosely linked to the Black Power movement in the USA, partly because of the radical political outlook of some of its practitioners and advocates (e.g., Archie Shepp and LeRoi Jones – later known as Amiri Baraka) and partly owing to the explosive, expressionistic nature of the music itself". Due to the lack of commercial success of the free jazz music as well as the racial issues, like the Civil Rights Movement, many American free jazz musicians began touring the European continent, playing and spreading their new avant-garde style throughout Europe. Jazz musicians like Ornette Coleman, Albert Ayler, Don Cherry, Bud Powell, Don Byas traveled and performed throughout Europe. In contrast to the lack of commercial success in America, many American free jazz musicians experienced both commercial success and acceptance in Europe, leading to tours of Europe and extended residencies. "A number of jazz musicians migrated to other parts of the world, where they received an opposite response, being considered the ultimate expression of high culture. Thus, many of them remained in exile, and they enjoyed unparalleled success in France, Germany, Japan, Scandinavia, and the Netherlands after the world wars".
Although much of American public believed this music to be structure-less, provocative, and ridiculous, some European listeners enjoyed the "dissonant and seemingly chaotic music". "Many Europeans viewed free jazz as the descriptor most used by the media on both sides of the Atlantic for a musical movement that ignited like a flare in the African-American... and Western European...jazz communities. The social context in both cases included a reaction by musicians against a mainstream jazz culture they felt to be colluding with an oppressive Western hegemony that was intrinsically racist, historically imperialistic and exploitive, venally decadent and vicious as its power was challenged". Due in part to the provocative nature of the music as well as the freedom it granted both the musician and the listener, many Europeans associated the backlash toward American society conveyed in free jazz with the counter-culture and anti-imperialist movements in Europe during the late 1960s.
Contrary to the societal reaction free jazz music received in the United States, many Europeans (musicians, critics and young people alike) identified with this style of music. While many African-Americans associated this avant-garde style with the Civil Rights Movement in America, many Europeans in the 1960s, especially college-aged students, associated this style of music with anti-colonialist movements occurring throughout Europe at the same time.
The music under the "free-jazz" rubric – that of Ornette Coleman, Cecil Taylor, Albert Ayler, John Coltrane, Sun Ra and their bands, to name the major pioneers with the most impact in Europe – ignited the jazz scenes there in the mid-to-late 1960s. The subsequent free-jazz movement in their countries was linked to the events and spirit of the 1968 student protests and riots in Paris and Berlin (the " '68ers") as it was to new assertions of black identity in America. The racial conflict specific to the United States translated in Europe to an international radical leftism – one with a youthful white more than an angry black face – hostile to Western imperialistic capitalism and faux-culture.
As American free jazz musicians continued to play throughout Europe, the free jazz genre and the cultural movements in Europe associated with it began to spread as well, influencing many European jazz musicians to imitate the avant-garde style of playing as well as adopting its techniques to create their own individual sound. "Reflecting their diverse backgrounds, these musicians often blend personal narrative reminiscent of an Afrological perspective with some sonic imagery characteristic of European forms spanning several centuries".
The introduction of this new, avant-garde style influenced many European jazz musicians like the German saxophonist Peter Brötzmann, who is known as one of the first European free jazz musicians. The founders of European free jazz usually came from a classic jazz background and then went over bebop and hard bop into free jazz. Brötzmann began playing free jazz in 1964, and he formed a quintet with "Peter Kowald and Sven-Åke Johansson. The following year he toured Europe in a quintet led by Mike Mantler and Carla Bley, and they began an association with the Globe Unity Orchestra that lasted until 1981".
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