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Key Information

James Chance, also known as James White (born James Siegfried, April 20, 1953 – June 18, 2024), was an American saxophonist, keyboard player, and singer.

A key figure in no wave, Chance played a combination of improvisational jazz-like music and punk in the New York music scene from the late 1970s on, in such bands as Teenage Jesus and the Jerks, James Chance and the Contortions, James White and the Blacks (as he appeared in the film Downtown 81), The Flaming Demonics, James Chance & the Sardonic Symphonics, James Chance and Terminal City, and James Chance and Les Contortions.[1]

Background

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James Siegfried was born in Milwaukee in 1953, growing up there and in the suburb of Brookfield, Wisconsin.[2] Siegfried attended Michigan State University, then the Wisconsin Conservatory of Music in Milwaukee.[1] There, he joined a band named Death, which performed covers of the Stooges and the Velvet Underground before moving toward original songs.

Career

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At the end of 1975, Siegfried dropped out and moved to New York City after the dissolution of the band and the death of its singer.[3] He quickly became active in both the free jazz and no wave punk rock scenes.[4] His first band in New York in 1976 was an instrumental quartet with violin, drums and bass called Flaming Youth. He started Teenage Jesus and the Jerks with Lydia Lunch the same year. In 1977, after studying for a short time under David Murray, he formed The Contortions, who fused jazz improvisation and funky rhythms, with live shows often ending in violent confrontations with audience members.[1] By this time, he had adopted the stage name James Chance.[2] The Contortions reached a wider audience with their contribution to the Brian Eno-compiled No New York collection of No Wave acts.[1] The band appeared in Rosa von Praunheim's film Das Todesmagazin in 1979.[citation needed]

While Chance shared an apartment with No Wave musical luminary Lydia Lunch, the duo created seminal No Wave group Teenage Jesus and the Jerks, which Chance soon left.[1]

Chance was noted for engaging in physical confrontations, from forcing the audience out of their seats and getting in fist fights with his New York City audience, including rock critic Robert Christgau. At first, this was just an attempt to engage the passive New York audience, but this practice is reported to have somewhat diminished after audiences came to expect the physical confrontations.[5] He discussed issues of race and working with black musicians in a number of interviews.[6][7][8]

In 1979, Chance collaborated with Arto Lindsay, Bradley Field, and George Scott on the soundtrack to Diego Cortez's film Grutzi Elvis.[1]

James Chance in 1981

Chance's stage and musical persona were finalized by romantic partner and agent Anya Phillips, who died of cancer in 1981. Frictions between Chance and band members eventually led to a breakup of the Contortions in the fall of 1979.[4] The Contortions released one album, Buy in late 1979, and another album, Off White, under the pseudonym James White and the Blacks in 1980 (featuring Lydia Lunch under the pseudonym Stella Rico). Chance re-formed James White and the Blacks with a completely different lineup that appeared on the 1982 album Sax Maniac which was dedicated to Phillips. The group released one more album, Melt Yourself Down, a very limited Japanese release.[citation needed]

The first version of the Blacks was set up by Joseph Bowie. Shortly after, Defunkt emerged from the Blacks. In 1982 Chance toured with the re-formed James White and the Blacks with his brother David "Tremor" Siegfried and his band David and the Happenings from Carbondale, Illinois, playing Chicago, their hometown Milwaukee, and much of the Midwest.[citation needed]

Chance briefly relocated to Paris, returning to New York City in 1983 to record the album James White Presents The Flaming Demonics.[1]

In 1987, he contributed saxophone to The False Prophets' Implosion album.[1]

In 2001, Chance reunited with original Contortions members Jody Harris (guitar), Pat Place (slide guitar), and Don Christensen (drums) for a few limited engagements. Original keyboard player Adele Bertei appeared briefly, but bass player George Scott III had died of an accidental drug overdose in 1980 and his slot was filled by Erik Sanko. The reunited group played twice at the All Tomorrow's Parties music festival, and, in 2008, at the PS1 Warm Up series. Chance also recorded with Blondie after coming out of semi-retirement. Tiger Style records released the 4-CD box set retrospective Irresistible Impulse to critical acclaim in 2003. A live-DVD James Chance – Chance of a Lifetime: Live in Chicago 2003 was released in 2005.[citation needed]

In addition to limited engagements with the original Contortions, Chance occasionally performed and recorded with the Chicago band Watchers. In Europe, he performed with James Chance & Les Contortions, French musicians who had been his backing band since 2006. They played a 15-show Europe tour in April and May 2007 and were back in Europe in October 2007. In May 2012 they released the CD Incorrigible! on the French label LADTK, comprising seven Chance originals and two covers, all of them brand new recordings.[2]

In 2009 Chance made occasional appearances playing keyboards in NYC with a trio, with the material restricted to close readings of jazz standards. In June 2012, Chance played in Portland, Oregon with local group Ancient Heat as his backing band. They played a number of songs from various points in his career, including a new cover of Gil Scott-Heron's "Home is Where The Hatred Is."[citation needed]

Chance performing in 2010

In 2016, 19-year-old Dylan Greenberg directed James Chance in the music video for a re-recorded version of Melt Yourself Down, his first music video in nearly 20 years. The video premiered on MOJO.[9] He gave his final performance in 2019.[10]

Death

[edit]

Chance was in poor health in the final years of his life, and he died from a gastrointestinal disease at a nursing home in East Harlem on June 18, 2024, at the age of 71.[2][10]

Discography

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Albums

[edit]
James Chance and the Contortions[11]
  • Buy (ZE Records, 1979) (as Contortions)
  • Live aux Bains Douches (Invisible, France 1980)
  • Live in New York (ROIR cassette, 1981)
  • Soul Exorcism (ROIR cassette, 1991)
  • Lost Chance (ROIR 1995, recorded 1981)
  • Molotov Cocktail Lounge (Enemy Records, 1996)
  • Incorrigible! (LADTK, France 2012) (as James Chance et les Contortions)
  • The Flesh Is Weak (True Groove, 2016)
James White and the Blacks[12]
James Chance and Pill Factory
  • Theme from Grutzi Elvis (EP) (ZE 1979)
James White's Flaming Demonics
  • James White's Flaming Demonics (ZE 1983)
James Chance and Terminal City
  • The Fix Is In (decade 01 / Interbang Records IBR005 2010)
Solo
  • James Chance – Chance of a Lifetime: Live in Chicago 2003 (RUNT 2005)

Appears On

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See also

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References

[edit]

Sources

[edit]
  • Masters, Marc. No Wave. London: Black Dog Publishing, 2007. ISBN 978-1-906155-02-5
  • Moore, Alan W., and Marc Miller (eds.). ABC No Rio Dinero: The Story of a Lower East Side Art Gallery. New York: Collaborative Projects, 1985
  • Pearlman, Alison, Unpackaging Art of the 1980s. Chicago: University Of Chicago Press, 2003.
  • Reynolds, Simon. "Contort Yourself: No Wave New York." In Rip It Up and Start Again: Post-punk 1978–84. London: Faber and Faber, Ltd., 2005.
  • Reynolds, Simon. Totally Wired: Post-Punk Interviews and Overviews. London: Faber and Faber, 2009. ISBN 978-0-571-23549-0
  • Taylor, Marvin J. (ed.). The Downtown Book: The New York Art Scene, 1974–1984, foreword by Lynn Gumpert. Princeton: Princeton University Press, 2006. ISBN 0-691-12286-5
[edit]
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James Chance

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James Chance (born James Siegfried; April 20, 1953 – June 18, 2024) was an American saxophonist, singer, and bandleader who co-founded the genre in late-1970s as the leader of the Contortions. His work fused punk aggression, grooves, improvisation, and minimalism into a raw, abrasive sound that influenced scenes. Born in , , Chance trained classically on before switching to and drawing from influences including and artists. After playing in local bands and relocating to New York in the mid-1970s, he briefly joined before forming the Contortions around 1977, which gained prominence through chaotic live performances at venues like and . The band's contributions to the 1978 compilation , produced by , and their debut album Buy (1979) solidified their status in the movement, noted for tracks like "Contort Yourself" and "I Can't Stand Myself." Chance's stage persona was defined by confrontational antics, including goading audiences and physical altercations—such as punching critic Robert Christgau—which amplified his music's volatile energy but contributed to band instability and lineup changes. Under the alias James White, he led projects like James White and the Blacks, releasing Off White (1980) and collaborating with artists including Debbie Harry on her solo album Rockbird (1986) and Blondie's No Exit (1999). He reunited the Contortions in 2001 for tours lasting until 2019, maintaining a cult following despite sporadic output and internal frictions. Chance died in Manhattan from complications of a gastrointestinal disease.

Early Life

Upbringing and Initial Musical Exposure

James Siegfried, who later adopted the stage name James Chance, was born on April 20, 1953, in , , to Donald Siegfried, the business manager of a local dairy cooperative. Raised in a Catholic family, he spent his early childhood in , attending St. Sebastian School, before the family moved to the suburb of Brookfield in 1968. Siegfried's initial exposure to music came through saxophone lessons during his youth, beginning with instruction from nuns associated with his Catholic schooling, followed by private lessons from an older teacher at a local music store. These early sessions focused on standard tunes and introductory techniques, fostering an interest in . He pursued further formal training after attending , enrolling at the Wisconsin Conservatory of Music in , though he eventually dropped out prior to relocating to in 1976. From these foundations, Siegfried developed an affinity for jazz figures such as , whose free-form style resonated with his improvisational leanings, alongside emerging punk attitudes that would later shape his work.

Pre-New York Musical Activities

Born James Alan Siegfried on April 20, 1953, in Milwaukee, Wisconsin, he received initial musical instruction in during his attendance at a Catholic elementary school. In his teenage years, Siegfried began playing the , developing skills that would later define his career. Siegfried pursued formal musical education at the Wisconsin Conservatory of Music in and briefly at , where he formed an early ensemble under his birth name, the James Siegfried band, focusing on instrumental improvisation. These studies emphasized classical and foundations, contrasting with the punk and styles he later pioneered. Prior to relocating to in 1976, Siegfried performed with the Milwaukee-based band , a group influenced by that garnered a small local following but little broader recognition. His involvement with marked an early departure from academic jazz toward raw, aggressive rock energy, performed in venues around and Brookfield, where his family had relocated in 1968. These activities laid groundwork for his experimental fusion of and punk, though no commercial recordings from this period survive.

Career Beginnings in New York

Entry into the No Wave Scene

In 1975, James Chance relocated to from , initially seeking to establish himself as a musician influenced by pioneers. Upon arrival, he found the city's establishment unreceptive to his aggressive style, prompting a shift toward the experimental punk and circles emerging in downtown 's lofts and clubs like and . By 1976, Chance had joined the short-lived band Flaming Youth and begun collaborating with figures in the nascent movement, including a brief stint performing with Lunch's , which exposed him to the scene's raw, confrontational ethos blending , , and . In 1977, after informal studies with saxophonist David Murray, he assembled the initial lineup of The Contortions—featuring guitarist Jody Harris, bassist George Scott III, and drummer Don Christensen—marking his formal entry into as a . The group's sound fused Chance's screeching solos with punk's velocity and funk's grooves, embodying the movement's rejection of rock conventions in favor of dissonance and improvisation. The Contortions' debut recordings, captured for Brian Eno's 1978 compilation , solidified Chance's role in defining , with tracks like "Dish It Out" and "Throw Me Away" highlighting the scene's abrasive energy and influencing subsequent developments. This exposure, produced by Eno to document four key acts, propelled the underground phenomenon toward limited international attention before the movement dissipated by 1979.

Formation and Evolution of The Contortions

James Chance formed The Contortions in 1977 in shortly after departing from , drawing on his skills and influences from and to create a band blending punk energy with rhythmic grooves. The initial lineup featured Chance on and vocals, alongside James Nares on guitar, Stephen Moses on drums, and Anne DeLeon on synthesizer, reflecting an experimental, noise-oriented start before expanding. The band's debut performance occurred on December 4, 1977, at , with an augmented ensemble that included Pat Place on , on organ, Reck on bass, and Chiko Hige on drums, marking their entry into the milieu through raw, confrontational sets. Lineup flux characterized the band's early months, as members cycled through amid the chaotic downtown scene; by early 1978, George Scott III had replaced Reck on bass, stabilizing the core with Place, Bertei, Nares, and Hige, though gigs like the February 4 show at showcased intermittent guests such as on guitar. By May 1978, further refinements brought Jody Harris on guitar and Don Christensen on drums for events like the Johnny Blitz Benefit on May 4, yielding the classic configuration of Chance, Harris, Place, Bertei, Scott, and Christensen, which emphasized polyrhythmic funk-jazz with atonal edges. This iteration contributed tracks to Eno's [No New York](/page/No New York) compilation in 1978, capturing their brittle, improvisational sound during sessions that highlighted Chance's commanding presence. The band's evolution accelerated in 1979 with the release of their debut album Buy on , produced amid growing tensions under manager , who pushed for a more commercial, image-focused direction incorporating elements like the remix of "Contort Yourself" by . However, internal conflicts over finances, use, and Phillips' influence led to the original lineup's dissolution by fall 1979, with key members such as Scott (who died in 1980), Bertei, Harris, Christensen, and Place departing. Chance responded by assembling a new ensemble drawing from the downtown jazz community, including figures like Joseph Bowie, which transitioned the project toward the James White and the Blacks moniker for subsequent recordings like Off White in 1980, signaling a shift from rawness to horn-driven revues. Sporadic reunions with original members occurred later, such as in 2001 for limited dates, but the core Contortions era ended with the 1979 breakup, underscoring the band's volatile trajectory.

Later Career Developments

Transition to James White and the Blacks

Following the initial releases by , including the 1978 album Buy, Chance adopted the pseudonym James White—a deliberate homage to —and rebranded his project as James White and the Blacks in late 1978. This shift was partly driven by his manager , who encouraged a pivot toward disco-infused sounds to broaden appeal amid New York's club scene, while retaining core improvisation and Chance's signature saxophone aggression. The change marked a stylistic evolution from the Contortions' jagged punk-jazz tension toward more groove-oriented and mutant , though Chance maintained confrontational vocals and chaotic energy. The debut album under the new moniker, Off White, appeared in 1979 on , featuring collaborations with Contortions holdovers like guitarist Pat Place and guests including (credited as Stella Rico). Tracks such as "Contort Yourself" and "Almost Black" exemplified the hybrid approach, fusing Brown's rhythmic drive with dissonance and electronic flourishes, positioning the band as a bridge between underground punk and floors. However, internal tensions arose; trombonist Joseph Bowie and others soon departed to form , reflecting lineup instability as Chance prioritized his vision of white-led reinterpretation. Subsequent activity under the James White banner included sporadic touring and recordings, but the 1979 transition solidified Chance's dual persona, allowing parallel exploration of raw without fully abandoning Contortions-era . By 1982, he reformed the Blacks with a new lineup—including his brother David Siegfried—for the Sax Maniac, dedicated to the late Contortions guitarist Jody Harris, further emphasizing saxophone-led intensity over ensemble cohesion. This period underscored Chance's refusal to conform to no wave's anti-commercial ethos, instead chasing visceral, genre-blurring expression amid evolving landscapes.

Subsequent Projects and Releases

After the initial phase of James White and the Blacks, Chance's recording activity slowed, with James White's Flaming Demonics released in 1983 on , featuring a lineup incorporating elements of and . This album marked one of his last major studio efforts under the James White moniker during the decade. Subsequent releases in the late and primarily consisted of live recordings and archival material under James Chance & The Contortions, including Lost Chance in 1995, which compiled unreleased tracks from the band's early period, and Molotov Cocktail Lounge in 1996, a live album capturing performances from the . Soul Exorcism followed in 2000, another live document from shows emphasizing Chance's energetic and vocal style. In the 2000s, Chance issued compilations and box sets such as in 2003, aggregating selections from his ZE Records era, and Sax Education in 2004, focusing on instrumental tracks. A notable new collaboration came in 2010 with Terminal City on The Fix Is In, an album blending , noise, and , recorded in and released on Le Son du Maquis. Later projects included the 2012 release Incorrigible by James Chance & The Contortions and the 2016 album The Flesh Is Weak, which featured original material available in digital and vinyl formats, representing Chance's return to recording with reformed lineups. These efforts highlighted his persistent fusion of punk aggression, , and rhythmic drive amid periods of reduced output.

Musical Style and Influences

Core Elements and Fusion Approaches

James Chance's music is characterized by its aggressive playing, drawing from honking styles associated with figures like and incorporating jagged brass melodies over rhythms. His vocals often feature a confrontational, spat delivery with blurted lyrics, adding to the raw intensity, while the rhythm section provides guttural funk grooves and blues-inflected patterns that remain danceable despite their disruptive nature. Squawking, cacophonous solos serve as a central element, emphasizing dissonance and within structured tracks. Chance's fusion approaches integrate free jazz improvisation—evident in harmolodic influences akin to —with the high-energy aggression of punk and the solid rhythmic drive of , as pioneered in The Contortions' early work. This synthesis deconstructs elements, reimagining James Brown-inspired grooves through modern and punk lenses, resulting in a sound that assaults conventional decorum while encouraging physical response. In later projects like James White and the Blacks, the approach evolved toward smoother dominance, with remaining focal amid looped basslines and uptempo percussion, blending raw punk edges with throbs in recordings such as Off White (1979).

Key Inspirations from Jazz, Funk, and Punk

James Chance drew heavily from pioneers, emulating their raw intensity and improvisational freedom in his saxophone playing and compositional approach. He cited as a primary influence for his honking, emotive style, which emphasized visceral expression over technical polish. Similarly, Coleman's harmolodic concepts and structures informed Chance's rejection of conventional harmony, allowing for atonal explorations within group settings. Other figures, including Cecil Taylor's percussive piano aggression and Sun Ra's cosmic experimentation, shaped his embrace of dissonance and theatricality, as evidenced in The Contortions' chaotic live improvisations. Earlier swing-era saxophonists like and also contributed to his energetic, riff-based phrasing. In , Chance was profoundly impacted by James Brown's rhythmic precision and vocal exhortations, which he adapted into a punk-inflected aggression to drive danceable grooves in tracks like "Contort Yourself" from 1978. He incorporated elements from Fela Kuti's polyrhythms, Maceo Parker's tight horn sections, and Junior Walker's soulful tenor blasts, blending them to create propulsive basslines and syncopated beats that contrasted with punk's typical minimalism. This fusion yielded a "avant-funk" hybrid, where Brown's served as the foundational pulse for no wave's deconstructive edge, evident in the tight ensemble playing of his bands. Punk's influence on Chance stemmed from its raw energy and anti-establishment ethos, particularly the Ramones' blunt-force simplicity and the Stooges' primal chaos, which he channeled into confrontational performances and stripped-down structures. He sought to exceed punk's conservatism by amplifying its extremity through jazz-like improvisation, as in his dissatisfaction with bands that lacked "something more extreme." This punk aggression infused his music with urgency, merging it with jazz's freedom and funk's groove to pioneer no wave's interdisciplinary assault, where audience provocation mirrored Iggy Pop's stage antics but with saxophone-led fury.

Stage Performances and Public Persona

Confrontational Tactics and Audience Interactions

James Chance employed highly aggressive tactics during live performances with The Contortions, often physically confronting audience members to disrupt passive spectatorship and provoke visceral reactions, aligning with the scene's emphasis on disruption. He would leap into crowds, slap or punch attendees, and incite fights, framing these actions as extensions of his musical intensity rather than mere chaos. This approach stemmed from his frustration with audiences' detachment, as Chance himself stated that attacking people was intended "to take them out of their passive attitude." Specific incidents underscored the volatility of these interactions. At an X Magazine in 1978, Chance waded into the crowd out of anger and began slapping attendees, later describing it as an inspired escalation to engage "arty types." During shows at venues like and , including the Contortions' debut on December 4, 1977, at Max's, performances frequently culminated in brawls, with bandmates like intervening to defend him from retaliatory violence. Legends persist of Chance fighting music critic and, in one unverified account, stabbing himself with a broken bottle after a payment dispute with a club owner, highlighting the blurred line between performance and personal volatility. Band members and observers noted the physical toll and strategic intent behind these tactics. Lurie recalled that Chance's "autistic James Brown-like energy" often escalated into audience fights, requiring onstage protection, while shows routinely ended in violence due to Chance's direct provocations. Influenced by girlfriend and collaborator , Chance integrated these confrontations into a persona blending punk aggression, improvisation, and provocation, encouraging "physical and mental contortion" as echoed in lyrics like those of "Contort Yourself." Over time, he moderated the frequency of bloody incidents, though the reputation for starting crowd fights persisted throughout his career.

Notable Incidents and Critic Responses

Chance's most publicized altercation took place on May 5, 1978, at a Contortions performance in Artists Space, , where he assaulted rock critic onstage, sparking a fistfight that halted the set. Christgau tackled and restrained Chance during the scuffle, an event stemming from personal tensions, including Christgau's past affair with Chance's associate . The incident rapidly circulated in music circles, drawing crowds to subsequent shows in anticipation of similar chaos. Beyond this, Chance routinely provoked physical confrontations with audience members, often initiating fistfights to enforce engagement or punish perceived apathy, a tactic that amplified his notoriety but occasionally required bandmates' intervention. These outbursts, fueled by alcohol and his aggressive persona, extended to jazz gigs and persisted as a deliberate element of his theatrical style, though they sometimes veered into unscripted violence. Critics portrayed Chance's belligerence as emblematic of no wave's raw intensity, with outlets like describing him as a figure who "goaded audiences with ," cementing his image as incorrigibly confrontational. While some viewed it as authentic punk-funk provocation that heightened the music's urgency, others noted risks of it devolving into gimmickry or harm, yet it undeniably fueled his cult status without derailing his career trajectory.

Legacy and Impact

Influence on Genres and Artists

James Chance's pioneering fusion of punk's raw aggression with improvisation and funk grooves in the late helped establish as a short-lived but seminal genre that rejected conventional rock structures in favor of dissonance and spontaneity. His 1979 debut album Buy with the Contortions advanced this punk-jazz hybrid, blending blunt-force punk energy with bebop-inspired phrasing and rhythmic drive, thereby catalyzing a movement that emphasized musical disruption over accessibility. This approach positioned Chance as a key architect of punk-funk, a subgenre that integrated high-energy improvisation with danceable elements, influencing the experimental edges of . The Contortions' chaotic integration of genres extended no wave's reach into subsequent and scenes, where bands drew from its emphasis on technical rawness and interdisciplinary performance. Acts like incorporated no wave's abrasive textures and anti-melodic strategies, evolving them into the dissonant guitar explorations of 1980s . Similarly, John Zorn's early game pieces and short-lived projects echoed the Contortions' freeform intensity, adapting punk's immediacy to composition and improvisation. John Lurie's also emerged from this milieu, channeling Chance's jazz-punk template into lounge-inflected absurdity. Chance's confrontational style and genre-blending rigor prefigured elements in later ensembles, such as , which adopted similar high-velocity fusions amid New York's downtown scene. His influence persisted in underground circuits, informing the raw, interdisciplinary ethos of industrial and acts that prioritized sonic extremity over polish.

Critical Reception and Reassessments

James Chance's early work with the Contortions received enthusiastic praise from critics for its abrasive fusion of punk aggression, free jazz improvisation, and funk rhythms, positioning it as a cornerstone of the no wave scene. The 1979 album Buy was lauded for its "fierce, fractured" sound, blending Chance's keening alto saxophone—reminiscent of Ornette Coleman—with angular guitar shards and confrontational vocals, earning an 8.5/10 rating from AllMusic for its enduring edge. Jazzwise described Chance as a "stroppy amphetamine-priest," highlighting the album's petulant yelps and visceral energy that captured the downtown New York's raw ethos. Similarly, Off White (1979), released under James White and the Blacks, drew mixed but notable acclaim; Robert Christgau awarded it a B-, calling it "pretty good to dance to" despite pretentious elements, while it placed 45th in the 1979 Pazz & Jop critics' poll, reflecting underground respect amid its provocative racial themes and hyperactive mix. Later reassessments have solidified Chance's reputation as a pioneering figure whose innovations transcended no wave's brief lifespan, influencing subsequent experimental and acts through his unorthodox genre-blending. A 2005 All About Jazz review of Buy affirmed its timeless originality, noting how Chance stretched jazz boundaries in ways still resonant in the new millennium. Reissues in the , such as the editions of Buy and Off White, prompted fresh endorsements for their "startling" and "cutting-edge" qualities, with emphasizing the sax-driven 's punk-jazz hybrid as ahead of its time. Upon Chance's death in 2024, obituaries underscored his legacy: credited him with melding punk, , and into "bristling dance music," while highlighted his "squalling blend" that garnered a despite limited commercial success. Critics like portrayed him as a "heroic figure" driven by raw id, whose transgressive style demanded reassessment beyond initial notoriety for violence. These views affirm Chance's causal role in no wave's noisy disruption, though his persona often overshadowed the music's structural innovations in contemporaneous accounts.

Death

Final Years and Passing

In the later stages of his career, James Chance maintained a reduced performance schedule amid mounting health challenges, with his last known taking place on , , at Le Guess Who? festival in , . By 2020, personal health issues compounded by the forced him to abruptly end a European tour, prompting his family to launch a campaign seeking $50,000 for medical treatments and living expenses in New York, where he resided with partner Judy Taylor. Further deterioration followed, including hospitalization in late 2023, during which he was reported as "very frail," leading to additional fundraising for ongoing care. A brief improvement was noted in March 2024, attributed to supporter contributions and medical interventions. Chance died on June 18, 2024, in at age 71, as announced by his brother David Siegfried; no specific cause was provided, though his condition had declined over several preceding years.

Discography

Studio Albums

Buy (1979), the debut studio album by , was released in September 1979 on and features eleven tracks blending punk aggression with rhythms, including covers like "Junker's Blues" and originals such as "Mechanical Flossing". Off White (1979), credited to James White and the Blacks, followed later in 1979 on , emphasizing Chance's work over -infused covers of songs by and others, with tracks like "Contort Yourself" highlighting the group's style. Sax Maniac (1982), another James White and the Blacks release on Celluloid Records, consists largely of instrumental saxophone improvisations and grooves, showcasing Chance's influences amid punk energy. James White's Flaming Demonics (1983) appeared on , incorporating more demonic-themed titles and experimental arrangements, continuing the fusion of , and elements. Melt Yourself Down (1986), by James White and the Blacks, was issued on Venture Records, featuring chaotic reinterpretations of classics with intense vocal and horn sections. The Flesh Is Weak (2016), under , marked a late-career studio effort with renewed intensity on Skin Graft Records.

Compilations and Live Recordings

Second Chance (1980), released by PVC Records as a vinyl LP compilation under the name James White and the Contortions, gathered tracks from the prior albums Off White (1979) and Buy (1979), including selections like "Contort Yourself" and "Throw Me Away." The album served to consolidate Chance's early material amid his shifting band configurations. Live aux Bains Douches (1980), a live album by James Chance & the Contortions, documented a performance recorded on December 5, 1979, at the Bains Douches club in Paris, featuring raw renditions of songs such as "Don't Stop Till You Get Enough" and "Roving Eye." The release, initially on vinyl via Celluloid Records, captured the band's aggressive stage energy during their European tour. Twist Your Soul: The Definitive Collection (2010), a double-CD compilation on Animal Sounds/Ze Records, assembled rare tracks, demos, and live recordings spanning Chance's career, including live versions of "Designed to Kill," "My Infatuation," and "Throw Me Away" from various periods. This set emphasized his punk-funk fusion, drawing from archival material not widely available previously. Lost Chance (year unspecified in primary sources, early 1980s recording), a live album released via , presents a raw punk-jazz concert from New York City's no wave era, mastered directly from original tapes to highlight Chance's demented, funky style. It features extended improvisations typical of his live sets during that time.

References

  1. https://www.nytimes.com/2024/06/20/arts/music/james-chance-dead.html
  2. https://www.theguardian.com/music/article/2024/jun/19/james-chance-new-york-no-wave-dies-singer-saxophonist
  3. https://variety.com/2024/music/news/james-chance-dead-no-wave-contortions-1236041979/
  4. https://www.jsonline.com/story/entertainment/music/2024/06/21/james-chance-white-siegfried-obituary-milwaukee/74167364007/
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  6. https://jameschanceofficial.blogspot.com/p/biography.html
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  8. https://doobeedoobeedoo.info/r-i-p-james-chance-of-the-contortions-remembered/
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  10. https://rockandrollglobe.com/remembrance/our-infatuation-remembering-james-chance/
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  13. https://www.freejazzblog.org/2024/06/james-chance-1953-2024.html
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  15. https://jameschanceofficial.blogspot.com/2024/06/james-chance-1953-2024.html
  16. https://lpr.com/lpr_artists/james-chance-the-contortions/
  17. https://pitchfork.com/features/article/6764-no-the-origins-of-no-wave/
  18. https://nowave.fandom.com/wiki/James_Chance_and_the_Contortions
  19. http://weaselwalter.blogspot.com/2011/11/early-history-of-contortions-2.html
  20. http://weaselwalter.blogspot.com/2011/11/early-live-history-of-contortions-1.html
  21. https://www.vice.com/en/article/james-chance-interview-lipez/
  22. https://exclaim.ca/music/article/james_white_blacks-off_white
  23. https://www.discogs.com/artist/51227-James-White-The-Blacks
  24. https://bombmagazine.org/articles/1991/10/01/james-white-a-k-a-james-chance/
  25. https://thequietus.com/interviews/james-chance-interview-twist-your-soul/
  26. https://trouserpress.com/reviews/james-chance/
  27. https://jameschanceofficial.blogspot.com/p/discography.html
  28. https://www.allmusic.com/album/the-fix-is-in-mw0001974591
  29. https://www.discogs.com/release/2174091-James-Chance-And-Terminal-City-The-Fix-Is-In
  30. https://observer.com/2016/11/james-chance-reignites-the-scorched-earth-jazz-punk-that-made-him-a-legend/
  31. https://medium.com/no-wrong-notes/contort-yourself-james-white-and-the-blacks-cf89c30c3f12
  32. https://5mag.net/tracks/the-run-out/james-chance-the-contortionist/
  33. https://open.spotify.com/artist/0Q3CpdEaWZuOi3lLYH9piU
  34. https://jazztimes.com/features/profiles/punk-jazz-revisited/
  35. https://www.thestranger.com/music/2017/03/22/25032761/why-should-i-give-a-fuck-about-james-chance-and-the-contortions
  36. http://dustedmagazine.com/features/184
  37. https://www.theaudiovore.com/new-blog-2/2022/10/11/nowhere-new-york-an-interview-with-julia-gorton
  38. https://pitchfork.com/features/interview/5904-james-chance/
  39. https://thebaffler.com/latest/james-chance-1953-2024-sante
  40. https://pitchfork.com/news/james-chance-dies-at-70/
  41. https://www.nytimes.com/1981/02/15/arts/recordings-two-influential-purveyors-of-hard-core-funk.html
  42. https://www.allaboutjazz.com/james-chance-and-the-contortions-buy-by-trevor-maclaren
  43. https://don-armstrong.com/2024/07/18/listening-to-the-unlistenable-mediating-james-chance-pt-4/
  44. https://www.allmusic.com/album/buy-mw0000118450
  45. https://www.jazzwise.com/review/james-chance-and-the-contortions-buy
  46. https://www.robertchristgau.com/get_artist.php?name=James%2BWhite%2Band%2Bthe%2BBlacks
  47. https://www.robertchristgau.com/xg/pnj/pj79.php
  48. https://recordcollectormag.com/reviews/album/james-chance-contortions-buy-james-white-blacks-white
  49. https://www.gofundme.com/f/for-james-chance-and-judy-taylor
  50. https://pitchfork.com/news/gofundme-launched-for-james-chance/
  51. https://www.brooklynvegan.com/james-chance-hospitalized-very-frail-gofundme-running-to-help-with-medical-expenses/
  52. https://www.facebook.com/JamesChanceOfficial/posts/bloodied-but-unbowed-thanks-to-you-and-some-guardian-angels-james-health-situati/896414189156794/
  53. https://secondhandsongs.com/artist/32281/all
  54. https://www.albumoftheyear.org/artist/15982-james-chance-the-contortions/
  55. https://www.discogs.com/release/214161-James-White-2-And-The-Contortions-Second-Chance
  56. https://www.allmusic.com/album/second-chance-mw0000899122
  57. https://www.discogs.com/master/237456-James-Chance-Contortions-Live-Aux-Bains-Douches
  58. https://www.youtube.com/watch?v=T4pX5WzkWJQ
  59. https://www.discogs.com/release/2581496-James-Chance-Twist-Your-Soul-The-Definitive-Collection
  60. https://www.discogs.com/release/2491124-James-Chance-Twist-Your-Soul-The-Definitive-Collection
  61. https://jameschancethecontortions.bandcamp.com/album/lost-chance
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