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depoliticize the music, urging listeners to consider free jazz as an art form rather than simply a provocative statement on society bereft of any actual musicality. Many listeners of the time believed that, "free jazz was as much a political as a musical phenomenon". During this time, there were fears that if free jazz was only considered as a mechanism for political commentary, that it would lose its validity as an art form, or at worst, be subject to censorship by
European governments. Due to this possibility, there was a surge amongst the free jazz community to dissociate the word "free" with the political environment it is so commonly associated with. In addition to the depoliticizing of this genre of music, other critics asserted that,"Were jazz to be valued henceforth according to its capacity to reveal something of the social conditions under which it was produced or the political beliefs that its producers espoused, then its relevance for those outside the particular community from which it issues would be limited. In other words, by only associating jazz or free jazz with a particular ideology or thought process, in effect only those of a similar thought process can understand or appreciate it fully. Rather, if the free jazz genre was dissociated from the view that it is simply a vehicle for political commentary, and instead it was viewed objectively as a form of art, it would not only would be accessible to a larger audience, but it would allow itself to be judged as an art rather than the political statement it may or may not be attempting to make.
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jazz". During this time, free jazz was based less on its
American origin and became more European. Through the use of "spontaneous improvisation theoretically free of the diatonic/chromatic and metric systems governing harmony, melody, and rhythm of both pre-free jazz and other Western music", European free jazz musicians created interpretations based on their experience in western Europe. In Europe, this style of music achieved the relative level of success that "'bop,' 'early jazz,' and 'swing' enjoy in America," during their respective musical periods. According to Oxford Music Online, "In Europe (especially England) free jazz is also known simply as 'improvised music,' particularly in performances which emphasize stylistic connections to avant-garde art music rather than to sounds of African-American origin".
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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
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inspiration. This term 'improvised music' may, of course, be used in the common dictionary sense, and it is particularly useful in references to the pan-genre eclecticism which has characterized much music-making from the 1980s onwards, as musicians draw freely from, or meld together, not only jazz and contemporary art music but also aspects of various mainstream popular musics (blues, rock, soul, pop),
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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.
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also developed the
British scene. Both Paul Rutherford and Evan Parker experimented with solo improvisation for extended periods of their careers. Slava/Viacheslav/Ganelin, from Soviet Lithuania, came out with a bang in the late 70's, playing with Vladimir Chekasin and percussionist Vladimir Tarasov.
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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
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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
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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
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As free jazz, or 'improvised music' grew and developed as a popular genre of music in Europe, so did its supporters – both casual and scholarly. While there had always been a close association between free jazz and political and social strife in Europe, many supporters of the genre began pushing to
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In addition to the rise of free jazz musicians in Europe, during the 1960s there was a "sudden surge in critical interest...the emergence of a new cohort of critics – young intellectuals such as Yves Buin, Michel Le Bris, Guy
Kopelowicz and Jean-Louis Comolli – who took up the cause of experimental
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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
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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
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After the popularity of the late 1960s and 1970s in Europe, improvised music began to influence and became influenced by other genres of music. In the United States, Europe, and the rest of the world, musicians continued to play improvisational music, but they also looked to other genres for
178:. 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".
54:(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
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interpreted free jazz on double bass. Kowald helped in creating such organizations as "FMP (1969), which sponsors performances and issues recordings of free jazz, the Wuppertal Free Jazz Workshop, and 360° Spielraum für Ideen, an art gallery and performance space in Wuppertal".
33:
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, be certain that European free jazz took its development from American
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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".
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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".
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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
102:– 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
223:. Bauer "formed Doppelmoppel, a quartet of two trombones and two guitars" in 1982 and participated in the European Jazz Ensemble which celebrated its 20th-anniversary tour in 1996. In the UK saxophonist
106:, 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,
193:, although coming from a more classic background, also had great influence. He toured Asia, the United States, and South America and was one "finest trombonists in modern jazz".
170:, 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
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created a scandal at its debut in Berlin. In Germany some of the second generation free jazz players came from a more European music background, like Georg Gräwe,
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the 1960s, especially college-aged students, associated this style of music with anti-colonialist movements occurring throughout Europe at the same time.
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Brötzmann is renowned for his high-strung, fast playing, although the harmonies in his playing are often overlooked. His collaborator
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movement in the USA, partly because of the radical political outlook of some of its practitioners and advocates (e.g.,
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The introduction of this new, avant-garde style influenced many European jazz musicians like the German saxophonist
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Lewis, George. "Improvised Music after 1950: Afrological and Eurological Perspectives."
616:. Jefferson, North Carolina: McFarland & Company, Inc., Publishers, 2001. 91. Print.
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293:. Vol. 1 (2nd ed.). New York: Grove's Dictionaries. pp. 848–849.
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703:. 1st ed. Lewiston, New York: The Edwin Mellen Press, 2003. Print.
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Harris, William. "How You Sound?? Amiri Baraka Writes Free Jazz."
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and anti-imperialist movements in Europe during the late 1960s.
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Noglik and Kernfield. Grove Music Online. Oxford Music Online.
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Iannapollo and Adams. Grove Music Online. Oxford Music Online.
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Noglik and Kernfeld. Grove Music Online. Oxford Music Online.
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Adams and Gilbert. Grove Music Online. Oxford Music Online
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647:. 1st ed. New Haven: Yale University Press, 2005. Print.
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Robinson, J. Bradford (2002). Kernfeld, Barry (ed.).
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593:Kernfeld. Grove Music Online. Oxford Music Online.
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619:Drott, Eric. "Free Jazz and the French Critic."
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536:Heffley, Northern Sun, Southern Moon, pg. 3
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50:Free jazz got its name from the album
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664:Kernfeld, Barry. "Improvised Music."
266:and world music (ethnic traditions).
678:Knauer, Wolfram. "Mangel, Albert."
422:Maxi Sickert, "Quietschend fidel",
42:revolutionised the way of playing.
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605:Adams, Simon. "Rutherford, Paul."
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154:European development of free jazz
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696:. 2nd Edition. Web. 24 Apr 2012.
682:. 2nd Edition. Web. 24 Apr 2012.
675:. 2nd Edition. Web. 24 Apr 2012.
668:. 2nd Edition. Web. 24 Apr 2012.
661:. 2nd Edition. Web. 24 Apr 2012.
654:. 2nd Edition. Web. 24 Apr 2012.
633:. 2nd Edition. Web. 24 Apr 2012.
626:Europe Jazz Network, 24 Apr 2012
609:. 2nd Edition. Web. 24 Apr 2012.
291:The New Grove Dictionary of Jazz
629:Gilbert, Mark. "Parker, Evan."
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211:. In East Germany, trombonist
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689:. 16.1 (1996): 91–112. Print.
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687:Black Music Research Journal
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645:Northern Sun, Southern Moon
623:61.3 (2008): 541–81. Print.
197:Alexander von Schlippenbach
84:Alexander von Schlippenbach
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38:, where musicians such as
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640:. (2004): 3115–25. Print.
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257:Aftermath of free jazz
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162:Theo Jörgensmann, 2009
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583:
581:Drott, pg. 561
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383:Heffley, pg. 3
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76:Manfred Schoof
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843:Jazz trombone
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791:Improvisation
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699:Ross, Larry.
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460:Main article
457:
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392:Lewis, pg.111
389:
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300:1-56159-284-6
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229:John Coltrane
226:
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217:GĂĽnter Sommer
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37:
32:
28:
22:
18:
2149:
2136:
2129:
2122:
2118:(miniseries)
2115:
2107:
2077:Sophisti-pop
1696:
1507:
1498:Jazz royalty
1488:Jazz funeral
1284:Contemporary
1175:Chamber jazz
1129:Saxophonists
1099:Clarinetists
1071:Third stream
908:Chamber jazz
808:Scat singing
700:
693:
686:
679:
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469:
456:
451:, 7. 5. 1982
440:
435:
418:
409:
388:
379:
370:
361:
352:
347:Ross, pg. 84
343:
338:Ross, pg. 92
334:
309:
290:
260:
251:
242:
215:and drummer
209:Hannes Bauer
195:
188:
183:Peter Kowald
180:
165:
148:
143:
138:
125:
108:Albert Ayler
96:Archie Shepp
88:
68:Joachim Kuhn
64:Derek Bailey
51:
49:
26:
25:
21:Derek Bailey
2178:Jazz genres
2060:Quiet storm
2023:Contradanza
1805:New Orleans
1800:Kansas City
1603:Jazz mugham
1598:Azerbaijani
1522:Second line
1517:Rare groove
1503:Jazz theory
1493:Jazz poetry
1478:Contrafacts
1462:Saint Lucia
1442:New Orleans
1374:Strata-East
1349:MPS Records
1279:Cobblestone
1200:Smooth jazz
1190:Jazz fusion
1134:Trombonists
1047:Sacred jazz
1032:Smooth jazz
965:Jazz fusion
848:Jazz violin
828:Jazz guitar
803:Jam session
776:Jazz (word)
264:heavy metal
238:Leo Records
225:Evan Parker
213:Conny Bauer
189:Trombonist
100:LeRoi Jones
92:Black Power
80:John Surman
2045:Brass band
2033:Jump blues
1877:Ethno jazz
1840:Australian
1820:West Coast
1577:Zimbabwean
1417:Copenhagen
1339:Mainstream
1149:Violinists
1139:Trumpeters
1109:Guitarists
1017:Organ trio
1002:Modal jazz
975:Latin jazz
955:Gypsy jazz
853:Vocal jazz
838:Jazz piano
600:References
428:10.11.2006
426:(online),
313:Robinson.
116:Bud Powell
112:Don Cherry
2013:Acid jazz
1870:Worldwide
1856:Brazilian
1653:Bulgarian
1615:Indo jazz
1565:Cape jazz
1452:North Sea
1407:Cape Town
1394:Festivals
1369:Riverside
1344:Milestone
1269:Blue Note
1264:Bethlehem
1248:post-1950
1220:Standards
1205:Soul jazz
1154:Vocalists
1114:Organists
1086:Musicians
1076:Trad jazz
1037:Soul jazz
960:Jazz-funk
948:Punk jazz
938:Free funk
933:Free jazz
928:Folk jazz
918:Dixieland
913:Cool jazz
903:Cape jazz
818:Jazz bass
781:Jazz band
176:free jazz
52:Free Jazz
36:free jazz
31:free jazz
2172:Category
2018:Afrobeat
1932:Pre-1920
1917:Jazz Age
1833:Oceanian
1783:American
1757:Canadian
1641:European
1632:Japanese
1593:Armenian
1555:Malawian
1550:Ethiopia
1437:Montreux
1432:Montreal
1427:Monterey
1364:Prestige
1334:Landmark
1319:Impulse!
1299:ESP-Disk
1228:Pre-1920
1185:Hard bop
1124:Pianists
1104:Drummers
1094:Bassists
1027:Ska jazz
970:Jazz rap
896:Post-bop
886:Hard bop
786:Big band
717:Archived
424:Die Zeit
172:hard bop
120:Don Byas
2065:Ragtime
2050:Exotica
2006:Related
1912:Ragtime
1890:History
1795:Chicago
1762:Haitian
1741:Swedish
1729:Spanish
1712:Italian
1665:British
1660:Belgian
1627:Iranian
1543:African
1471:Culture
1447:Newport
1422:Jakarta
1412:Chicago
1309:Freedom
1007:Nu jazz
891:Neo-bop
1717:Polish
1707:German
1702:French
1687:Danish
1648:Balkan
1610:Indian
1570:Marabi
1527:Venues
1054:Stride
997:Marabi
987:M-Base
868:Genres
297:
82:, and
2096:Media
2055:Plugg
2028:Blues
1982:2010s
1977:2000s
1972:1990s
1967:1980s
1962:1970s
1957:1960s
1952:1950s
1947:1940s
1942:1930s
1937:1920s
1902:Blues
1772:Cuban
1692:Dutch
1620:Sitar
1586:Asian
1379:Verve
1243:1940s
1238:1930s
1233:1920s
1210:Swing
1170:Bebop
1059:Swing
881:Bebop
449:Essen
270:Notes
207:, or
174:into
2116:Jazz
2109:Bird
1997:2022
1992:2021
1987:2020
1722:Yass
1457:Pori
1359:Muse
1195:Scat
796:Jazz
757:Jazz
295:ISBN
98:and
1354:MPS
1329:JMT
1294:ECM
1289:CTI
1274:BYG
443:in
199:'s
58:of
2174::
586:^
447:;
397:^
322:^
277:^
118:,
114:,
110:,
86:.
78:,
74:,
70:,
66:,
749:e
742:t
735:v
464:.
430:.
303:.
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