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695:, in which a simple spiritual-like melody is gradually shifted and distorted through Ayler's unique improvisatory interpretation. Ultimately, Ayler serves as an important example of many ways which free jazz could be interpreted, as he often strays into more tonal areas and melodies while exploring the timbral and textural possibilities within his melodies. In this way, his free jazz is built upon both a progressive attitude towards melody and timbre as well as a desire to examine and recontextualize the music of the past.
898:. As the name may imply, musicians during this time would perform in private homes and other unconventional spaces. The status of free jazz became more complex, as many musicians sought to bring in different genres into their works. Free jazz no longer necessarily indicated the rejection of tonal melody, overarching harmonic structure, or metrical divide, as laid out by Coleman, Coltrane, and Taylor. Instead, the free jazz that developed in the 1960s became one of many influences, including pop music and world music.
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strain. The pattern may occur several times in a long selection, giving listeners pivotal points to cling to. At this time, listeners accept this – they can recognize the selection while also appreciating the freedom of the player in other portions. Players, meanwhile, are tending toward retaining a key center for the seemingly free parts. It is as if the musician has learned that entire freedom is not an answer to expression, that the player needs boundaries, bases, from which to explore.
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663:(Blue Note, 1966) Taylor marked his transition to free jazz, as his compositions were composed almost without notated scores, devoid of conventional jazz meter, and harmonic progression. This direction influenced by drummer Andrew Cyrille, who provided rhythmic dynamism outside the conventions of bebop and swing Taylor also began exploring classical avant-garde, as in his use of prepared pianos developed by composer John Cage.
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1001:. John Litweiler regards it favourably in comparison because of its "free motion of tempo (often slow, usually fast); of ensemble density (players enter and depart at will); of linear movement". Ekkehard Jost places it in the same company and comments on "extraordinarily intensive give-and-take by the musicians" and "a breadth of variation and differentiation on all musical levels".
416:, street cries, and jubilees (part of the "return to the roots" element of free jazz). This suggests that perhaps the movement away from tonality was not a conscious effort to devise a formal atonal system, but rather a reflection of the concepts surrounding free jazz. Jazz became "free" by removing dependence on chord progressions and instead using
408:"although they were freeing up certain strictures of bebop, were in fact each developing new structures of composition." Some forms use composed melodies as the basis for group performance and improvisation. Free jazz practitioners sometimes use such material. Other compositional structures are employed, some detailed and complex.
651:, his album released in 1956 for Transition showed ties to traditional jazz, albeit with an expanded harmonic vocabulary. But the harmonic freedom of these early releases would lead to his transition into free jazz during the early 1960s. Key to this transformation was the introduction of saxophonist
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chords. When improvisation occurred, it was founded on the notes in the chords. Free jazz almost by definition is free of such structures, but also by definition (it is, after all, "jazz" as much as it is "free") it retains much of the language of earlier jazz playing. It is therefore very common to
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marked a radical step beyond his more conventional early work. On these albums, he strayed from the tonal basis that formed the lines of his earlier albums and began truly examining the possibilities of atonal improvisation. The most important recording to the free jazz movement from
Coleman during
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the freer aspects of jazz, at least, have reduced the freedom acquired in the sixties. Most successful recording artists today construct their works in this way: beginning with a strain with which listeners can relate, following with an entirely free portion, and then returning to the recognizable
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was one of the essential composers and performers during the beginning period of free jazz. He began his career as a bebop tenor saxophonist in
Scandinavia, and had already begun pushing the boundaries of tonal jazz and blues to their harmonic limits. He soon began collaborating with notable free
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The breakdown of form and rhythmic structure has been seen by some critics to coincide with jazz musicians' exposure to and use of elements from non-Western music, especially
African, Arabic, and Indian. The atonality of free jazz is often credited by historians and jazz performers to a return to
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used harsh overblowing or other extended techniques to elicit unconventional sounds from their instruments. Like other forms of jazz it places an aesthetic premium on expressing the "voice" or "sound" of the musician, as opposed to the classical tradition in which the performer is seen more as
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Some jazz musicians resist any attempt at classification. One difficulty is that most jazz has an element of improvisation. Many musicians draw on free jazz concepts and idioms, and free jazz was never entirely distinct from other genres, but free jazz does have some unique characteristics.
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have existed. Although musicians and critics claim it is innovative and forward-looking, it draws on early styles of jazz and has been described as an attempt to return to primitive, often religious, roots. Although jazz is an
American invention, free jazz musicians drew heavily from
777:(1965) was steeped in what could be referred to as a new black mysticism. But Sun Ra's penchant for nonconformity aside, he was along with Coleman and Taylor an integral voice to the formation of new jazz styles during the 1960s. As evidenced by his compositions on the 1956 record
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contained one improvised section in a style unrelated to the piece's melody or chord structure. His contributions were primarily in his efforts to bring back collective improvisation in a music scene that had become dominated by solo improvisation as a result of big bands.
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Many critics, particularly at the music's inception, suspected that abandonment of familiar elements of jazz pointed to a lack of technique on the part of the musicians. By 1974, such views were more marginal, and the music had built a body of critical writing.
830:. As result, Sun Ra proved to be one of the first jazz musicians to explore electronic instrumentation, as well as displaying an interest in timbral possibilities through his use of progressive and unconventional instrumentation in his compositions.
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demonstrate the political implications of the word "free" in context of free jazz. Thus many consider free jazz to be not only a rejection of certain musical credos and ideas, but a musical reaction to the oppression and experience of
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Coltrane augmented his quartet with six horn players, including Archie Shepp and
Pharoah Sanders. The composition includes free-form solo improvisation interspersed with sections of collective improvisation reminiscent of Coleman's
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jazz musicians, including Cecil Taylor in 1962. He pushed the jazz idiom to its absolute limits, and many of his compositions bear little resemblance to jazz of the past. Ayler's musical language focused on the possibilities of
773:'s music could be classified as free jazz, especially his work from the 1960s, although Sun Ra said repeatedly that his music was written and boasted that what he wrote sounded more free than what "the freedom boys" played.
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and ethnic music traditions from around the world. Sometimes they played
African or Asian instruments, unusual instruments, or invented their own. They emphasized emotional intensity and sound for its own sake, exploring
628:, recorded in A&R Studios in New York in 1960. It marked an abrupt departure from the highly structured compositions of his past. Recorded with a double quartet separated into left and right channels,
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still explores the free jazz lessons, collaborating with pianist François
Tusques in experimental films : Birth of Free Jazz, Don Cherry... these topics considered through a pleasant and poetic way.
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Magazine, Coltrane said he felt indebted to
Coleman. While Coltrane's desire to explore the limits of solo improvisation and the possibilities of innovative form and structure was evident in records like
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Many critics have drawn connections between the term "free jazz" and the
American social setting during the late 1950s and 1960s, especially the emerging social tensions of racial integration and the
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Although free jazz is widely considered to begin in the late 1950s, there are compositions that precede this era that have notable connections to the free jazz aesthetic. Some of the works of
1012:'s first quintet, participated in the 1960s in one of the first expressions of free jazz in France. As a painter, he then experimented plastic transpositions of Ornette Coleman's approach.
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977:(saxophone), Kent Carter (bass) and Oliver Johnson (drums) who lived in France during the free jazz period in the 1960s, improvise Albert Ayler's 1965 composition "Spirits Rejoice."
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Sklower, Jedediah (2006). Free Jazz, la catastrophe féconde.Page 147 Une histoire du monde éclaté du jazz en France (1960-1982). Collection logiques sociales. Paris: Harmattan.
1016:, painted in 1973, used architectural structures in correspondence to the classical chords of standard harmonies confronted with an unrestrained all over painted improvisation.
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Outside of New York, a number of significant free jazz scenes appeared in the 1960s. They often gave birth to collectives. In
Chicago, numerous artists were affiliated with the
783:, Sun Ra's early work employed a typical bop style. But he soon foreshadowed the free jazz movements with compositions like "A Call for All Demons" off of the 1955–57 record
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in Los Angeles. Although they did not organize as formally, a notable number of free jazz musicians were also active in Albert Ayler's hometown of Cleveland. They included
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Calkins, Caroll C.; Balaban, Priscilla B.; Kelleher, Mary; Latham, Frank B.; Conefrey, Rosemarie; Huber, Robert V.; Pace, Georgea A.; Woodward, Robert J., eds. (1975).
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rejected pre-written chord changes, believing that freely improvised melodic lines should serve as the basis for harmonic progression. His first notable recordings for
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was Canada's most notable early free jazz outfit. Outside of North America, free jazz scenes have become established in Europe and Japan. Alongside the aforementioned
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experimented with a form of free jazz (and often big-band free jazz) that fused experimental improvisation with African rhythms and melodies. American musicians like
789:, which combines atonal improvisation with Latin-inspired mambo percussion. His period of fully realized free jazz experimentation began in 1965, with the release of
1093:, with an ever more distant relationship to jazz tradition. Specifically Brötzmann has had a significant impact on the free jazz players of the United States.
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with its collective improvisation, as well as African music. Interest in ethnic music resulted in the use of instruments from around the world, such as
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describes a "Modern Creative" genre, in which "musicians may incorporate free playing into structured modes—or play just about anything." He includes
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brought a more aggressive, cacophonous texture to Coleman's work, and the record's title would provide the name for the nascent free jazz movement.
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that had been played before them was too limiting, and became preoccupied with creating something new. The term "free jazz" was drawn from the 1960
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Dictionnaire du jazz, Sous la direction de Philippe Carles, Jean-Louis Comolli et André Clergeat. Éditions Robert Laffont, coll. "Bouquins", 1994
987:'s 1964 film with a soundtrack of group improvisations recorded by an augmented version of Albert Ayler's group and released as the album
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that developed in the late 1950s and early 1960s, when musicians attempted to change or break down jazz conventions, such as regular
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The ambiguity of free jazz presents problems of definition. Although it is usually played by small groups or individuals, free jazz
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was also exploring the possibilities of avant-garde free jazz. A classically trained pianist, Taylor's main influences included
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in 1962 because they encouraged more progressive musical language, such as tone clusters and abstracted rhythmic figures. On
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The free jazz movement received its biggest impetus when Coleman moved from the west coast to New York City and was signed to
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were among the most well-known early European free jazz performers. European free jazz can generally be seen as approaching
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effects. Yet amidst Ayler's progressive techniques, he shows an attachment for simple, rounded melodies reminiscent of
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with chord changes. In free jazz, the dependence on a fixed and pre-established form is eliminated, and the role of
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505:", "Digression", and "Descent into the Maelstrom" exhibit the use of techniques associated with free jazz, such as
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collective improvisation and lack of discrete chord changes. Other notable examples of proto-free jazz include
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1148:. Some international jazz musicians have come to North America and become immersed in free jazz, most notably
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tones. Coltrane continued to explore the avant-garde in his following compositions, including such albums as
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in 1958. These albums do not follow typical 32-bar form and often employ abrupt changes in tempo and mood.
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improvisation and extended saxophone technique, creating squawks and honks with his instrument to achieve
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uses free jazz as a direct response to complex attitudes towards African-American music. Exhibited at
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965:(meaning "off-screen") addresses the political context of free jazz in the 1960s, as an extension of
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Rejection of the bop aesthetic was combined with a fascination with earlier styles of jazz, such as
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1992:
Krajewsk, "Stan Douglas, 15 September 2007 — 6 January 2008, Staatsgalerie & Wurttembergischer"
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and pulsed rhythms, usually in 4/4 or (less often) 3/4. Free jazz retains pulsation and sometimes
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By the 1970s, the setting for avant-garde jazz was shifting to New York City. Arrivals included
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Creative Improvised Music: An International Bibliography of the Jazz Avant-Garde, 1959-Present
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Free Jazz, la catastrophe féconde. Une histoire du monde éclaté du jazz en France (1960-1982)
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in 1965, Coltrane demonstrated his appreciation for the new wave of free jazz innovators. On
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525:'s 1953 "Fugue". It can be argued, however, that these works are more representative of
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993:. Critics have compared the album with the key free jazz recordings: Ornette Coleman's
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443:'s interpretation of pygmy yodeling. Ideas and inspiration were found in the music of
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in this genre, which continues "the tradition of the '50s to '60s free-jazz mode".
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1504:. Vol. 1 (2nd ed.). New York: Grove's Dictionaries. pp. 848–849.
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and is one of his few works to directly address race. Four American musicians,
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of activist-supported black voter registration, and the free alternative black
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Earlier jazz styles typically were built on a framework of song forms, such as
1732:. Vol. 1 (2nd ed.). New York: Grove's Dictionaries. pp. 96–97.
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1968:(6th ed.). Dubuque, IA: William C. Brown, College Division. p.
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of Argentina (this influence is more evident in Barbieri's early work).
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2111:"Free Jazz/Québec Libre: Le Quatuor de Jazz Libre du Québec, 1967-1975"
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Point from which creation begins: The Black Artists' Group of St. Louis
945:, Don Cherry, and Sun Ra as musicians who have employed this approach.
718:
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A Power Stronger Than Itself: The AACM and American Experimental Music
296:". Others have used "modern jazz", "creative music", and "art music".
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647:, who prove key to Taylor's later unconventional uses of the piano.
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2176:"Omnidirectional Projection: Teruto Soejima and Japanese Free Jazz"
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2193:"How South Africa's Blue Notes Helped Invent European Free Jazz"
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and texture over meter and harmony, employing a wide variety of
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This is Our Music: Free Jazz, the Sixties, and American Culture
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The John Coltrane companion : five decades of commentary
1223:. Reprint of the 1970 edition, New York: World Publishing Co.
382:
275:
2100:
Clifford Allen, The New York City Jazz Record p10, June 2011
1960:
Tanner, Paul O. W.; Maurice Gerow; David W. Megill (1988) .
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691:, including his often recorded and most famous composition,
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2129:
Northern Sun, Southern Moon: Europe's Reinvention of Jazz
1880:
The Dark Tree: Jazz and the Community Arts in Los Angeles
466:. Many argue those recent phenomena such as the landmark
1790:. Lawrence Hill Books, Chicago Review Press. p. 28.
2218:
1655:. Philadelphia: University of Pennsylvania. p. 62.
855:, founded in 1965. In St. Louis, the multidisciplinary
1283:
Jazz 101: A Complete Guide to Learning and Loving Jazz
1905:"The Blistering Cosmic Music of The Black Unity Trio"
1594:. Oxford, England: Oxford University Press. pp.
1529:. New York: Cambridge University Press. p. 207.
1500:
Robinson, J. Bradford (2002). Kernfeld, Barry (ed.).
1299:
Fire Music: A Bibliography of the New Jazz, 1959-1990
853:
Association for the Advancement of Creative Musicians
412:
non-tonal music of the nineteenth century, including
365:
give an impression of rhythm that moves like a wave.
1479:(3rd ed.). New York: Norton. pp. 494–497.
682:, which he explores via his more avant-garde style.
1096:Japan's first free jazz musicians included drummer
58:. Unsourced material may be challenged and removed.
2144:"Peter Brötzmann, legend of free jazz, dies at 82"
1786:Berendt, Joachim-Ernst; Huesmann, GĂĽnther (2009).
1676:
1587:
1260:Avant-Garde Jazz Musicians: Performing "Out There"
1244:. Collection logiques sociales. Paris: Harmattan.
1228:
904:, Maurice Gerow, and David Megill have suggested,
2091:Jean-Max Albert, Peinture, ACAPA, AngoulĂŞme, 1982
1239:
1124:. A relatively active free jazz scene behind the
274:. Musicians during this period believed that the
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2001:Milroy, "These artists know how to rock", p. R7
1788:The Jazz Book: From Ragtime to the 21st Century
1785:
1728:Kernfeld, Barry (2002). Kernfeld, Barry (ed.).
2050:
1213:Rivelli, Pauline; Levin, Robert, eds. (1979).
865:Union of God's Musicians and Artists Ascension
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2234:
1986:
863:founded the Pan Afrikan Peoples Arkestra and
1378:"Free Jazz: The Jazz Revolution of the '60s"
1212:
1646:
1644:
1414:
1412:
1356:Free Jazz: A Research and Information Guide
802:These records placed a musical emphasis on
685:One of Ayler's key free jazz recordings is
4489:
4475:
3683:
3669:
2241:
2227:
1821:
1670:
1668:
1666:
1664:
1662:
1470:
1468:
1466:
859:was active between 1968 and 1972. Pianist
3690:
1955:
1953:
1617:
1615:
1525:Cooke, Mervyn; Horn, David, eds. (2002).
1524:
1418:
717:, his work owed more to the tradition of
331:expressing the thoughts of the composer.
254:in the early to mid-1970s, is a style of
118:Learn how and when to remove this message
1727:
1721:
1650:
1641:
1518:
1499:
1474:
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1353:
1036:
1028:
832:
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539:
387:
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2126:
2120:
1923:
1917:
1877:
1871:
1752:
1746:
1674:
1659:
1581:
1579:
1577:
1575:
1573:
1571:
1493:
1463:
1315:
1262:. Iowa City: University Of Iowa Press.
1159:South African artists, including early
472:decision in 1954, the emergence of the
4955:
4496:
2053:Free Jazz (Studies in Jazz Research 4)
2038:The Freedom Principle: Jazz After 1958
1950:
1902:
1852:
1846:
1624:"Modern Creative Music Genre Overview"
1612:
1421:The Freedom Principle: Jazz After 1958
1318:Flow, Gesture, and Spaces in Free Jazz
4470:
3664:
2222:
1827:
1800:
1691:
1585:
1339:. Nyack, NY: African Diaspora Press.
1227:Sinclair, John; Robert Levin (1971).
995:Free Jazz: A Collective Improvisation
576:, Cecil Taylor, Ornette Coleman, and
289:Free Jazz: A Collective Improvisation
22:Free Jazz: A Collective Improvisation
4932:List of experimental music festivals
1568:
1549:
1437:
1334:
1296:
1191:integrated elements of the music of
357:but without regular meter. Frequent
292:. Europeans tend to favor the term "
56:adding citations to reliable sources
27:
2142:Beaumont-Thomas, Ben (2023-06-23).
1621:
1543:
1085:, saxophonist and bass clarinetist
894:, beginning the period of New York
841:The title track of Charles Mingus'
19:For the Ornette Coleman album, see
13:
4937:List of electronic music festivals
1932:. New York: W.W. Norton. pp.
1882:. University of California Press.
1206:
316:
14:
5004:
3596:Album covers of Blue Note Records
2206:
1697:
1445:"A Fireside Chat with Marc Ribot"
1301:. Westport, CT: Greenwood Press.
792:The Heliocentric Worlds of Sun Ra
775:The Heliocentric Worlds of Sun Ra
501:in the late 1940s, particularly "
3644:
2215:by Billy Bob Hargus (July 1996).
1730:The New Grove Dictionary of Jazz
1700:"Encyclopedia of Jazz Musicians"
1502:The New Grove Dictionary of Jazz
1235:. New York: World Publishing Co.
961:in 1992, his video installation
762:, as well as collaborating with
349:Other forms of jazz use regular
32:
4871:Experimental musical instrument
2185:
2168:
2135:
2103:
2094:
2085:
2068:
2059:
2044:
2029:
2017:
2004:
1995:
1896:
1857:. University of Chicago Press.
1832:. University of Chicago Press.
1794:
1779:
1527:The Cambridge companion to jazz
1047:Quatuor de Jazz Libre du Québec
1024:
258:or an experimental approach to
43:needs additional citations for
4942:List of experimental musicians
2976:Institutions and organizations
1423:. Da Capo Press. p. 158.
1390:
948:
913:Tanner, Gerow and Megill name
372:structures, usually cycles of
346:is correspondingly increased.
1:
4916:Electroacoustic improvisation
2673:Cool jazz and West Coast jazz
1903:Crépon, Pierre (March 2020).
1683:. London: Continuum. p.
1383:
622:this era, however, came with
340:32-bar AABA popular song form
1755:"La Passe Dangereuse (1963)"
1477:The Music of Black Americans
990:New York Eye and Ear Control
981:New York Eye and Ear Control
725:. But with the recording of
531:contemporary classical music
529:jazz with its references to
7:
2213:The Real Godfathers of Punk
1320:. Heidelberg, D: Springer.
469:Brown v. Board of Education
10:
5009:
4429:Situationist International
1761:. Schirmer Books. p.
1757:. In Woideck, Carl (ed.).
1706:. Jazz.com. Archived from
1258:Such, David Glen (1993).
1240:Sklower, Jedediah (2006).
1217:. New York: Da Capo Press.
1199:, and the Middle East for
492:
18:
4924:
4848:
4795:
4710:
4595:
4584:
4504:
4325:
4247:
4086:
4026:
4017:
3899:
3699:
3640:
3588:
3498:
3382:
3362:
3341:
3325:
3242:
3133:
3078:
3035:
3028:
3002:See Template: Jazz theory
2963:
2885:
2749:
2711:
2655:
2577:
2359:
2256:
2026:by Scott Yanow, Allmusic.
1962:"Free Form — Avant Garde"
1853:Looker, Benjamin (2004).
1828:Lewis, George E. (2009).
1809:. Oxford University Press
1316:Mazzola, Guerino (2008).
814:, including the electric
786:Angels and Demons at Play
706:In a 1963 interview with
612:The Shape of Jazz to Come
593:Tomorrow Is the Question!
368:Previous jazz forms used
219:
214:
207:
202:
176:
172:late 1950s, United States
168:
137:
132:
2248:
2131:. Yale University Press.
2036:Litweiler, John (1984).
1753:Quersin, Benoit (1998).
1475:Southern, Ellen (1997).
1419:Litweiler, John (1984).
1128:produced musicians like
4692:Intelligent dance music
3939:Experimental literature
2051:Jost, Ekkehard (1975).
1924:DeVeaux, Scott (2009).
1878:Isoardi, Steve (2006).
1550:Jost, Ekkehard (1974).
1354:Schwartz, Jeff (2018).
1281:Szwed, John F. (2000).
1221:Jazz & Pop Magazine
1203:-influenced free jazz.
1008:, as trumpet player of
844:Pithecanthropus Erectus
449:Musica Elettronica Viva
4205:Second Viennese School
3836:Neue Slowenische Kunst
3707:Abstract expressionism
2127:Heffley, Mike (2005).
1675:Shipton, Alyn (2001).
1651:Anderson, Ian (2007).
1285:. New York: Hyperion.
1042:
1034:
911:
838:
812:percussion instruments
808:electronic instruments
703:
545:
393:
385:phrases in this music.
4963:1960s fads and trends
4312:Theatre of the Absurd
4235:Twelve-tone technique
4114:Electroacoustic music
2010:Gale, "Stan Douglas:
1679:A New History of Jazz
1554:. Universal Edition.
1215:Giants of Black Music
1045:Founded in 1967, the
1040:
1032:
906:
836:
701:
618:Change of the Century
543:
464:civil rights movement
391:
4876:Experimental luthier
4586:Experimental popular
4297:Postdramatic theatre
4282:Experimental theatre
3819:Multidimensional art
3390:Bibliography of jazz
3170:Continental European
2055:. Universal Edition.
1399:The Story of America
1231:Music & Politics
997:and John Coltrane's
52:improve this article
4797:Extended techniques
3799:Lyrical Abstraction
3631:Straight, No Chaser
3420:Straight-ahead jazz
2877:Winter & Winter
2326:French horn in jazz
2014:and others", p. 363
1590:The History of Jazz
1586:Gioia, Ted (2011).
1335:Gray, John (2019).
1297:Gray, John (1991).
1102:Masayuki Takayanagi
983:is Canadian artist
967:black consciousness
929:, Pharoah Sanders,
857:Black Artists Group
533:techniques such as
513:written in 1948 by
4978:Free improvisation
4973:Experimental music
4901:Sound installation
4748:Free improvisation
4640:Deconstructed club
4498:Experimental music
4412:Postmodernist film
4317:Theatre of Cruelty
4200:Rock in Opposition
4141:Free improvisation
3784:Post-Impressionism
3717:Art & Language
3575:West African music
3400:British dance band
3190:European free jazz
3163:British dance band
2656:Musicians by genre
2436:Free improvisation
2180:Point of Departure
2115:Point of Departure
1807:Grove Music Online
1801:Kernfield, Barry.
1451:. 21 February 2004
1142:Vyacheslav Ganelin
1118:Motoharu Yoshizawa
1091:free improvisation
1043:
1035:
839:
704:
599:Something Else!!!!
546:
476:in 1961, the 1963
394:
294:free improvisation
260:jazz improvisation
228:free improvisation
4950:
4949:
4886:Progressive music
4866:Data sonification
4791:
4790:
4650:Experimental rock
4608:Avant-garde metal
4464:
4463:
4454:Russian symbolism
4439:Socialist realism
4277:Experimental film
4243:
4242:
3949:Hungry generation
3924:Conceptual poetry
3779:Neo-Impressionism
3658:
3657:
3531:New Orleans blues
3378:
3377:
3321:
3320:
2895:Beaches (Toronto)
2306:Swing performance
2199:, September 2020.
2117:, September 2020.
1943:978-0-393-97880-3
1605:978-0-19-539970-7
1401:. United States:
1183:, John Coltrane,
609:. Albums such as
562:Eugene Chadbourne
548:Keith Johnson of
245:
244:
233:experimental rock
138:Stylistic origins
128:
127:
120:
102:
5000:
4988:Jazz terminology
4925:Events and lists
4849:Related concepts
4773:Progressive jazz
4645:Experimental pop
4603:Avant-garde jazz
4593:
4592:
4564:Musique concrete
4547:Acousmatic music
4491:
4484:
4477:
4468:
4467:
4358:Russian Futurism
4302:Remodernist film
4220:Stochastic music
4175:Musique concrète
4153:Microtonal music
4131:Experimental pop
4124:Industrial music
4119:Electronic music
4024:
4023:
3846:Nouveau réalisme
3754:Grosvenor School
3685:
3678:
3671:
3662:
3661:
3649:
3648:
3415:Continental jazz
3308:Washington, D.C.
3273:
3272:
3175:Czech and Slovak
3033:
3032:
2817:India Navigation
2515:Progressive jazz
2369:Avant-garde jazz
2243:
2236:
2229:
2220:
2219:
2200:
2189:
2183:
2174:Crépon, Pierre.
2172:
2166:
2165:
2163:
2162:
2139:
2133:
2132:
2124:
2118:
2109:Crépon, Pierre.
2107:
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1622:Johnson, Keith.
1619:
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1255:
1236:
1234:
1218:
1152:from Brazil and
1146:Vladimir Tarasov
1138:Zbigniew Seifert
1120:, and trumpeter
1106:Yosuke Yamashita
1098:Masahiko Togashi
1079:Misha Mengelberg
1071:François Tusques
953:Canadian artist
917:, Cecil Taylor,
877:Black Unity Trio
435:'s West African
379:altered dominant
336:twelve-bar blues
256:avant-garde jazz
223:Avant-garde jazz
177:Derivative forms
169:Cultural origins
160:avant-garde jazz
130:
129:
123:
116:
112:
109:
103:
101:
60:
36:
28:
5008:
5007:
5003:
5002:
5001:
4999:
4998:
4997:
4953:
4952:
4951:
4946:
4920:
4906:Sound sculpture
4844:
4825:Prepared guitar
4810:Circuit bending
4787:
4706:
4589:
4587:
4580:
4542:Electroacoustic
4513:
4510:classical music
4509:
4500:
4495:
4465:
4460:
4321:
4307:Structural film
4249:
4239:
4094:Aleatoric music
4082:
4013:
3901:
3895:
3856:Performance art
3695:
3689:
3659:
3654:
3651:Jazz portal
3643:
3636:
3617:The Jazz Singer
3584:
3563:Novelty ragtime
3494:
3374:
3358:
3337:
3317:
3271:
3238:
3129:
3074:
3029:Regional scenes
3024:
2959:
2881:
2807:Groove Merchant
2797:Flying Dutchman
2745:
2707:
2651:
2573:
2505:Orchestral jazz
2485:Mainstream jazz
2473:Afro-Cuban jazz
2355:
2264:Outline of jazz
2252:
2247:
2209:
2204:
2203:
2190:
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1438:
1431:
1417:
1410:
1403:Reader's Digest
1395:
1391:
1386:
1376:Levin, Robert,
1370:
1347:
1328:
1309:
1252:
1209:
1207:Further reading
1189:Pharoah Sanders
1055:Peter Brötzmann
1053:, saxophonists
1027:
1018:Jean-Max Albert
1006:Jean-Max Albert
971:George E. Lewis
951:
943:Anthony Braxton
861:Horace Tapscott
810:and innovative
688:Spiritual Unity
661:Unit Structures
641:Thelonious Monk
584:Ornette Coleman
544:Coleman in 2009
515:Bob Graettinger
499:Lennie Tristano
495:
487:black Americans
482:Freedom Schools
402:Ornette Coleman
400:commented that
392:Pharoah Sanders
377:hear diatonic,
324:Pharoah Sanders
319:
317:Characteristics
284:Ornette Coleman
203:Regional scenes
198:
164:
124:
113:
107:
104:
61:
59:
49:
37:
26:
17:
12:
11:
5:
5006:
4996:
4995:
4993:Outsider music
4990:
4985:
4980:
4975:
4970:
4965:
4948:
4947:
4945:
4944:
4939:
4934:
4928:
4926:
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4919:
4918:
4913:
4908:
4903:
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4893:
4888:
4883:
4878:
4873:
4868:
4863:
4858:
4852:
4850:
4846:
4845:
4843:
4842:
4837:
4832:
4830:Prepared piano
4827:
4822:
4820:Plunderphonics
4817:
4815:Frippertronics
4812:
4807:
4801:
4799:
4793:
4792:
4789:
4788:
4786:
4785:
4780:
4775:
4770:
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4755:
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4745:
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4708:
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4605:
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4501:
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4486:
4479:
4471:
4462:
4461:
4459:
4458:
4457:
4456:
4446:
4441:
4436:
4434:Social realism
4431:
4426:
4421:
4419:Late modernism
4416:
4415:
4414:
4404:
4399:
4394:
4392:Neo-minimalism
4389:
4387:Postminimalism
4384:
4379:
4374:
4369:
4368:
4367:
4366:
4365:
4350:
4345:
4340:
4335:
4333:Constructivism
4329:
4327:
4323:
4322:
4320:
4319:
4314:
4309:
4304:
4299:
4294:
4292:Poetic realism
4289:
4287:Modernist film
4284:
4279:
4274:
4269:
4264:
4259:
4253:
4251:
4245:
4244:
4241:
4240:
4238:
4237:
4232:
4227:
4225:Textural music
4222:
4217:
4215:Spectral music
4212:
4207:
4202:
4197:
4192:
4187:
4182:
4180:New Complexity
4177:
4172:
4167:
4166:
4165:
4155:
4150:
4145:
4144:
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4133:
4128:
4127:
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4015:
4014:
4012:
4011:
4006:
4001:
3996:
3991:
3986:
3981:
3976:
3971:
3969:Neoavanguardia
3966:
3964:Language poets
3961:
3956:
3951:
3946:
3941:
3936:
3931:
3926:
3921:
3919:Asemic writing
3916:
3914:Angry Penguins
3911:
3905:
3903:
3897:
3896:
3894:
3893:
3888:
3883:
3878:
3873:
3868:
3863:
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3848:
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3838:
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3832:
3831:
3821:
3816:
3811:
3806:
3801:
3796:
3791:
3786:
3781:
3776:
3771:
3766:
3761:
3756:
3751:
3750:
3749:
3739:
3734:
3729:
3727:Constructivism
3724:
3722:Conceptual art
3719:
3714:
3709:
3703:
3701:
3697:
3696:
3688:
3687:
3680:
3673:
3665:
3656:
3655:
3641:
3638:
3637:
3635:
3634:
3627:
3624:Round Midnight
3620:
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3590:
3586:
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3359:
3357:
3356:
3354:Latin American
3351:
3345:
3343:
3342:South American
3339:
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3322:
3319:
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3310:
3305:
3300:
3295:
3290:
3285:
3283:Baltimore jazz
3279:
3277:
3270:
3269:
3268:
3267:
3260:Latin American
3257:
3252:
3246:
3244:
3243:North American
3240:
3239:
3237:
3236:
3231:
3230:
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2535:Spiritual jazz
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2257:General topics
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2207:External links
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1405:. p. 399.
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1219:Articles from
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1185:Milford Graves
1169:Chris McGregor
1112:, saxophonist
1110:Masahiko Satoh
1087:Willem Breuker
1026:
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1004:French artist
950:
947:
935:Alice Coltrane
837:Sun Ra in 1973
798:The Magic City
714:A Love Supreme
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478:Freedom Summer
474:Freedom Riders
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4407:Postmodernism
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3841:Nonconformism
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1154:Gato Barbieri
1151:
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1135:
1134:Tomasz Stańko
1131:
1130:Janusz Muniak
1127:
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1107:
1103:
1099:
1094:
1092:
1088:
1084:
1080:
1076:
1075:Fred Van Hove
1072:
1068:
1064:
1061:, trombonist
1060:
1056:
1052:
1048:
1041:Tomasz Stańko
1039:
1031:
1022:
1019:
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975:Douglas Ewart
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939:Wayne Shorter
936:
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923:Keith Jarrett
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884:Arthur Blythe
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873:Norman Howard
870:
869:Charles Tyler
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780:Sounds of Joy
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523:Jimmy Giuffre
520:
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511:City of Glass
508:
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414:field hollers
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344:improvisation
341:
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329:
328:John Coltrane
325:
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272:chord changes
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108:December 2018
100:
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83:
79:
76:
72:
69: –
68:
64:
63:Find sources:
57:
53:
47:
46:
41:This article
39:
35:
30:
29:
24:
23:
4752:
4588:music genres
4508:contemporary
4272:Epic theatre
4135:
4109:Atonal music
3944:Flarf poetry
3934:Ego-Futurism
3732:Proto-Cubism
3642:
3629:
3622:
3615:
3611:(miniseries)
3608:
3600:
3570:Sophisti-pop
3000:
2991:Jazz royalty
2981:Jazz funeral
2777:Contemporary
2668:Chamber jazz
2622:Saxophonists
2592:Clarinetists
2564:Third stream
2425:
2401:Chamber jazz
2301:Scat singing
2196:
2187:
2182:, June 2019.
2179:
2170:
2159:. Retrieved
2148:The Guardian
2147:
2137:
2128:
2122:
2114:
2105:
2096:
2087:
2070:
2061:
2052:
2046:
2037:
2031:
2019:
2011:
2006:
1997:
1988:
1965:
1927:
1919:
1908:
1898:
1879:
1873:
1854:
1848:
1829:
1823:
1811:. Retrieved
1806:
1796:
1787:
1781:
1758:
1748:
1729:
1723:
1712:. Retrieved
1708:the original
1703:
1698:Allen, Jim.
1693:
1678:
1652:
1631:. Retrieved
1627:
1589:
1551:
1545:
1526:
1520:
1501:
1495:
1476:
1453:. Retrieved
1448:
1439:
1420:
1398:
1392:
1358:. New York:
1355:
1336:
1317:
1298:
1282:
1259:
1241:
1230:
1220:
1214:
1177:Dudu Pukwana
1173:Louis Moholo
1165:Zim Ngqawana
1161:Dollar Brand
1158:
1150:Ivo Perelman
1126:iron curtain
1100:, guitarist
1095:
1067:Derek Bailey
1065:, guitarist
1051:Joe Harriott
1044:
1033:Dollar Brand
1025:In the world
1013:
1010:Henri Texier
1003:
998:
994:
988:
985:Michael Snow
980:
979:
973:(trombone),
962:
955:Stan Douglas
952:
919:John Klemmer
912:
907:
900:
892:Mark Dresser
888:James Newton
881:
850:
842:
840:
826:, harp, and
796:
790:
784:
778:
774:
768:
764:John Tchicai
758:
753:Kulu Se Mama
751:
746:
737:
732:
726:
712:
707:
705:
702:Archie Shepp
692:
686:
684:
667:Albert Ayler
665:
660:
657:Sunny Murray
655:and drummer
649:Jazz Advance
648:
637:Cecil Taylor
634:
629:
623:
616:
610:
604:
597:
591:
588:Contemporary
582:
578:Ray Anderson
570:Bill Frisell
558:Henry Kaiser
547:
527:third stream
510:
496:
467:
461:
457:
437:talking drum
433:Ed Blackwell
426:
424:structures.
422:polyrhythmic
410:
406:Albert Ayler
395:
367:
348:
333:
320:
298:
287:
251:
247:
246:
215:Other topics
150:experimental
114:
105:
95:
88:
81:
74:
62:
50:Please help
45:verification
42:
21:
4983:Jazz genres
4840:Turntablism
4783:Witch house
4743:Drone metal
4532:Avant-garde
4424:Primitivism
4250:and theatre
4190:Noise music
4163:Drone music
3994:Slam poetry
3881:Suprematism
3866:Process art
3794:Incoherents
3789:Color Field
3764:Divisionism
3712:Art Nouveau
3692:Avant-garde
3553:Quiet storm
3516:Contradanza
3298:New Orleans
3293:Kansas City
3096:Jazz mugham
3091:Azerbaijani
3015:Second line
3010:Rare groove
2996:Jazz theory
2986:Jazz poetry
2971:Contrafacts
2955:Saint Lucia
2935:New Orleans
2867:Strata-East
2842:MPS Records
2772:Cobblestone
2693:Smooth jazz
2683:Jazz fusion
2627:Trombonists
2540:Sacred jazz
2525:Smooth jazz
2458:Jazz fusion
2341:Jazz violin
2321:Jazz guitar
2296:Jam session
2269:Jazz (word)
1633:18 December
1455:18 December
1104:, pianists
1083:Han Bennink
1069:, pianists
1063:Conny Bauer
1059:Evan Parker
963:Hors-champs
959:documenta 9
949:Other media
931:McCoy Tyner
927:Chick Corea
915:Miles Davis
902:Paul Tanner
820:Hammond B-3
759:Meditations
742:multiphonic
676:multiphonic
653:Jimmy Lyons
519:Stan Kenton
441:Leon Thomas
359:accelerando
306:world music
155:avant-garde
67:"Free jazz"
16:Music genre
4957:Categories
4911:Soundscape
4835:Scordatura
4805:3rd bridge
4768:Industrial
4733:Avant-funk
4675:noise rock
4630:Avant-punk
4625:Avant-prog
4613:Post-metal
4552:Tape music
4444:Surrealism
4382:Minimalism
4257:Cinéma pur
3902:and poetry
3900:Literature
3809:Minimalism
3700:Visual art
3538:Brass band
3526:Jump blues
3370:Ethno jazz
3333:Australian
3313:West Coast
3070:Zimbabwean
2910:Copenhagen
2832:Mainstream
2642:Violinists
2632:Trumpeters
2602:Guitarists
2510:Organ trio
2495:Modal jazz
2468:Latin jazz
2448:Gypsy jazz
2346:Vocal jazz
2331:Jazz piano
2161:2023-06-24
2040:. Da Capo.
1714:2014-04-22
1384:References
1181:Don Cherry
1116:, bassist
1081:, drummer
875:, and the
719:modal jazz
680:folk music
672:microtonal
574:Steve Lacy
455:movement.
451:, and the
418:polytempic
398:Marc Ribot
396:Guitarist
363:ritardando
286:recording
280:modal jazz
78:newspapers
4968:Free jazz
4891:Sound art
4778:Punk jazz
4753:Free jazz
4685:post-rock
4680:post-punk
4660:math rock
4655:krautrock
4620:Avant-pop
4520:Aleatoric
4449:Symbolism
4377:Modernism
4210:Serialism
4195:Post-rock
4136:Free jazz
4044:Free funk
3999:UltraĂsmo
3954:Imaginism
3929:Cyberpunk
3891:Vorticism
3694:movements
3506:Acid jazz
3363:Worldwide
3349:Brazilian
3146:Bulgarian
3108:Indo jazz
3058:Cape jazz
2945:North Sea
2900:Cape Town
2887:Festivals
2862:Riverside
2837:Milestone
2762:Blue Note
2757:Bethlehem
2741:post-1950
2713:Standards
2698:Soul jazz
2647:Vocalists
2607:Organists
2579:Musicians
2569:Trad jazz
2530:Soul jazz
2453:Jazz-funk
2441:Punk jazz
2431:Free funk
2426:Free jazz
2421:Folk jazz
2411:Dixieland
2406:Cool jazz
2396:Cape jazz
2311:Jazz bass
2274:Jazz band
2156:0261-3077
1552:Free Jazz
1360:Routledge
1122:Itaru Oki
1114:Kaoru Abe
1014:Free jazz
999:Ascension
896:loft jazz
738:Free Jazz
733:Ascension
728:Ascension
630:Free Jazz
625:Free Jazz
590:included
566:Tim Berne
554:John Zorn
535:serialism
521:band and
503:Intuition
445:John Cage
429:dixieland
301:big bands
252:free form
248:Free jazz
238:punk jazz
194:post-rock
189:loft jazz
133:Free jazz
4856:Cymatics
4763:Hyperpop
4728:Art rock
4723:Art punk
4665:neo-prog
4635:Biomusic
4596:By style
4506:Related
4397:Neo-Dada
4372:Lettrism
4353:Futurism
4267:Drop Art
4262:Dogme 95
4230:Totalism
4148:Futurism
4099:Ars nova
4027:By style
3974:Neoteric
3876:Rayonism
3829:De Stijl
3804:Mail art
3759:Devětsil
3511:Afrobeat
3425:Pre-1920
3410:Jazz Age
3326:Oceanian
3276:American
3250:Canadian
3134:European
3125:Japanese
3086:Armenian
3048:Malawian
3043:Ethiopia
2930:Montreux
2925:Montreal
2920:Monterey
2857:Prestige
2827:Landmark
2812:Impulse!
2792:ESP-Disk
2721:Pre-1920
2678:Hard bop
2617:Pianists
2597:Drummers
2587:Bassists
2520:Ska jazz
2463:Jazz rap
2389:Post-bop
2379:Hard bop
2279:Big band
2197:Bandcamp
1910:The Wire
1813:21 April
1803:"Sun Ra"
1628:AllMusic
1270:(cloth)
769:Much of
723:post-bop
635:Pianist
607:Atlantic
550:AllMusic
517:for the
374:diatonic
370:harmonic
4738:Ambient
4718:Art pop
4711:Related
4697:Neofolk
4670:no wave
4559:Minimal
4326:General
4185:No wave
3959:Imagism
3909:Acmeism
3861:Pop art
3851:Orphism
3769:Fauvism
3747:Bauhaus
3558:Ragtime
3543:Exotica
3499:Related
3405:Ragtime
3383:History
3288:Chicago
3255:Haitian
3234:Swedish
3222:Spanish
3205:Italian
3158:British
3153:Belgian
3120:Iranian
3036:African
2964:Culture
2940:Newport
2915:Jakarta
2905:Chicago
2802:Freedom
2500:Nu jazz
2384:Neo-bop
2012:Evening
1596:309–311
1278:(pbk.).
828:timpani
824:marimba
822:, bass
816:celeste
493:History
338:or the
184:No wave
92:scholar
4881:Fluxus
4758:Glitch
4574:Danger
4512:genres
4402:Neoism
4348:Fluxus
4248:Cinema
4087:Others
3989:Oulipo
3984:Oberiu
3871:Purism
3737:Cubism
3210:Polish
3200:German
3195:French
3180:Danish
3141:Balkan
3103:Indian
3063:Marabi
3020:Venues
2547:Stride
2490:Marabi
2480:M-Base
2361:Genres
2154:
2078:
2024:Review
1976:
1940:
1936:–432.
1886:
1861:
1836:
1769:
1736:
1602:
1558:
1533:
1508:
1483:
1427:
1366:
1343:
1324:
1305:
1289:
1274:
1266:
1248:
1193:Africa
1187:, and
1175:, and
890:, and
804:timbre
771:Sun Ra
756:, and
693:Ghosts
507:atonal
453:Fluxus
439:, and
355:swings
351:meters
311:timbre
270:, and
264:tempos
209:Europe
94:
87:
80:
73:
65:
4569:Noise
4537:Drone
4076:Metal
4019:Music
3589:Media
3548:Plugg
3521:Blues
3475:2010s
3470:2000s
3465:1990s
3460:1980s
3455:1970s
3450:1960s
3445:1950s
3440:1940s
3435:1930s
3430:1920s
3395:Blues
3265:Cuban
3185:Dutch
3113:Sitar
3079:Asian
2872:Verve
2736:1940s
2731:1930s
2726:1920s
2703:Swing
2663:Bebop
2552:Swing
2374:Bebop
1201:world
1197:India
383:blues
276:bebop
268:tones
250:, or
99:JSTOR
85:books
4861:Dada
4702:Wave
4338:Dada
4071:Punk
4066:Prog
4061:Rock
4049:Yass
4039:Jazz
4034:Funk
4009:Zaum
3609:Jazz
3602:Bird
3490:2022
3485:2021
3480:2020
3215:Yass
2950:Pori
2852:Muse
2688:Scat
2289:Jazz
2250:Jazz
2152:ISSN
2076:ISBN
1974:ISBN
1966:Jazz
1938:ISBN
1928:Jazz
1884:ISBN
1859:ISBN
1834:ISBN
1815:2014
1767:ISBN
1734:ISBN
1635:2018
1600:ISBN
1556:ISBN
1531:ISBN
1506:ISBN
1481:ISBN
1457:2018
1425:ISBN
1364:ISBN
1341:ISBN
1322:ISBN
1303:ISBN
1287:ISBN
1272:ISBN
1264:ISBN
1246:ISBN
1144:and
1108:and
795:and
721:and
708:Jazz
643:and
615:and
596:and
420:and
404:and
381:and
361:and
326:and
278:and
145:Jazz
71:news
4056:Pop
2847:MPS
2822:JMT
2787:ECM
2782:CTI
2767:BYG
1970:129
1934:431
1763:123
1685:780
766:.
54:by
4959::
2195:,
2178:,
2150:.
2146:.
2113:,
1972:.
1964:.
1952:^
1907:.
1805:.
1765:.
1702:.
1661:^
1643:^
1626:.
1614:^
1598:.
1570:^
1465:^
1447:.
1411:^
1362:.
1195:,
1171:,
1167:,
1163:,
1140:,
1136:,
1132:,
1077:,
1073:,
1057:,
941:,
937:,
933:,
925:,
921:,
886:,
879:.
871:,
818:,
750:,
747:Om
572:,
568:,
564:,
560:,
556:,
537:.
489:.
447:,
313:.
266:,
4490:e
4483:t
4476:v
3684:e
3677:t
3670:v
2242:e
2235:t
2228:v
2164:.
2082:.
1982:.
1946:.
1913:.
1892:.
1867:.
1842:.
1817:.
1775:.
1742:.
1717:.
1687:.
1637:.
1608:.
1564:.
1539:.
1514:.
1489:.
1459:.
1433:.
1372:.
1349:.
1330:.
1311:.
1293:.
1254:.
800:.
121:)
115:(
110:)
106:(
96:·
89:·
82:·
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48:.
25:.
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