...for the jazz cats ...

I was hoping to start a discussion on a particular style of jazz playing that I haven't seen discussed very often. I'm talking the almost open rubato tunes where everyone is sorta playing on their own time and it sounds like a wall of sounds, some examples:

http://www.youtube.com/watch?v=uOHBIjf_4x8

http://www.youtube.com/watch?v=hfR84za80ag

This one is just ridiculously intense.
http://www.youtube.com/watch?v=bHh6t3OK0Do

Perhaps someone could shed some light as to how this style of playing came about.
Free jazz was a major movement in music in the early- to mid-1960s. Its influence can still be felt in these more contemporary tracks you posted.

The earliest free jazz recordings were probably the Ornette Coleman Atlantics and the earliest work by Cecil Taylor. These came out in the late 50s and early 60s. Most of those recordings featured a much freer tonality but still a fairly conventional timekeeping role from the rhythm section.

But the freedom from keeping strict tempo really gained steam when Coltrane started to employ it with his quartet. By the time Trane brought Rashied Ali into the group, it was on. Artists like Albert Ayler, with the great Sunny Murray on drums, explored the style more thoroughly. Other artists who started in the more traditional post-bop forms but explored free jazz were Eric Dolphy, Charles Mingus, Archie Shepp and Sun Ra. Coleman and Taylor continued to get farther and farther "out" as well.

There was concurrently a movement in Europe where musicians coming from a different musical background explored collective improvisation. The FMP label was where a lot of it happened, and important musicians like Peter Brotzmann and Evan Parker came up with their own take, independent of the American free jazzers.

As far as why it came to be, well, I think it was just a logical progression, an attempt to take the music to the next level. Jazz was evolving so quickly during that time, getting freer and freer all the time, opening up more avenues to the improviser. Coltrane, in particular, seemed to be searching for something almost spiritual, like trying to discover some new language or reality. The way bebop startled the swing generation, free jazz shocked the boppers.

We had a nice thread going on this forum with free jazz recs somewhere. It might even be on the early pages of this thread.
 

It's funny that I have a history with Bret Primak. He is closely hooked up with Sonny Rollins, and all through high school I begged him to allow me access. I used to drive him crazy. Then my father saw him at a jazz conference and introduced himself as Matt Smith's father, and Bret thought that was very funny.

Speaking of Dad, he's with Mom now in China, based in Ningbo University, as the country's first full time American jazz educator. There was an article about his program in last November's Down Beat. And Bret interviewed Dad for a video that was never finished.Dad had asked Bret to come to China to do some filming and the deal fell through. So I think he was a little ticked about it. Oh well.
 
... Dad, he's with Mom now in China, based in Ningbo University, as the country's first full time American jazz educator.

The idea of massive numbers of Chinese (even a tiny %) moving into jazz as players or listeners is encouraging for those of us who love organic music.

Well done, Andy, on finding your way into the thread! Yes, look out because that cat scratches when not handled properly ...

Meanwhile, if anyone's looking for an hours of music that's easy on the ears, you could do worse than this Blue Note collection http://www.youtube.com/watch?v=Up2MvLremHc
 
Just added some new cymbals....a rare opportunity (for me anyways) to play trio gigs with
a couple of world class jazz pianists came my way and I wanted to get closer to "the sound"
I'll never get to..... Came home with 2 22" Sabian Artisan Custom Shop rides (one higher,
one lower pitched...higher I added rivets) to change things up from what I was using. I usually prefer 20" rides but fell in love with the sound of these. First gig went well and I'm
asked back for more...the other one is a ways off but the pianist is on 70 CD's and plays
the world over....it might be just the one gig but I can practice and hope! Anyways, for me
these are thrills of a lifetime and the reason I practice and play.
 
........................

Hahaha, very cool and funny Andy :)

Meanwhile, if anyone's looking for an hours of music that's easy on the ears, you could do worse than this Blue Note collection http://www.youtube.com/watch?v=Up2MvLremHc

Cool link Grea, listening to it as we speak.

Hey, I did just announce I'm getting into Kendrick Scott's stuff, does that count?

It certainly does my friend, awesome stuff :)
 
Just had my final performance for my Jazz Combo yesterday. We did a pretty great job, if you ask me. I was nervous as s***, since it was in front of the entire music department (students, staff, etc.) but we still did great. I'll post video when I get it.

Question: Some guys asked if I wanted to play drums for a restaurant/lounge-jazz guitar trio. Just wanted some opinions on what to prepare for (musically). Is this going to be mostly playing with brushes? Do you think we'd be playing standards? Are there tunes that would definitely be played in a guitar trio? Just want to know whatever I can so I know going into it.
 
ref the guitar trio gigs....I play them all the time...use hands, brushes and sticks. If its a
place where people are talking etc we start by playing under the talking (so not to be too
in your face with the music) and try to draw the crowd in. If we get the crowd in our hands,
we end up playing louder than if they keep talking. At any rate, you can use hands, brushes
and sticks at very low volume levels, especially if you have the right cymbals. I always take
along a flat ride for very quiet gigs just in case (but the flat ride isn't my sound of choice generally). I have 2 rivets in mine and depending on the room, it often gets compliments for
the sound. Generally we find that playing at a volume where we can be heard yet people can still talk (if they want to) without yelling is best.

With respect to what tunes you might play....that could be anything at all depending on
what the guitar player wants to play. While it's likely to include standards, I wouldn't always
bet on it.

Maybe talk to the guitar player about what type of stuff you're going to play. Have Fun!
 
I love some of the old jazz album covers! Especially Jim Flora:

SAM_3352.JPG


Came across this tonight ... the groove and vibe are killer ... this one's for you, Larry 8 http://www.youtube.com/watch?v=KxwAvS3mUi8
 
I love some of the old jazz album covers! Especially Jim Flora:

SAM_3352.JPG


Came across this tonight ... the groove and vibe are killer ... this one's for you, Larry 8 http://www.youtube.com/watch?v=KxwAvS3mUi8


Oh yes indeed! I remember that one. My Dad was an avid record collector. He literally had thousands of LP's and 78's. I remember so many that were just beautiful. In fact, when he passed away I archived all of his Louis Armstrong Collection which was absolutely enormous and sent them to The Louis Armstrong House Museum and Archives in NYC. The curators wanted them and paid for all expenses to do so.

Here are some I recall:

View attachment 55578

View attachment 55579

View attachment 55580

View attachment 55581
 
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ref the guitar trio gigs....I play them all the time...use hands, brushes and sticks. If its a
place where people are talking etc we start by playing under the talking (so not to be too
in your face with the music) and try to draw the crowd in. If we get the crowd in our hands,
we end up playing louder than if they keep talking. At any rate, you can use hands, brushes
and sticks at very low volume levels, especially if you have the right cymbals. I always take
along a flat ride for very quiet gigs just in case (but the flat ride isn't my sound of choice generally). I have 2 rivets in mine and depending on the room, it often gets compliments for
the sound. Generally we find that playing at a volume where we can be heard yet people can still talk (if they want to) without yelling is best.

With respect to what tunes you might play....that could be anything at all depending on
what the guitar player wants to play. While it's likely to include standards, I wouldn't always
bet on it.

Maybe talk to the guitar player about what type of stuff you're going to play. Have Fun!

Definitely will! Thanks for that. Definitely have the right cymbals and definitely know how to play at low volume. I don't know details on what our role will be in these places, but I imagine it's a real low-volume, wallpaper-type thing, where people won't be coming up to us to watch/listen.
 
Just me maybe, but when we start out with the guitar trio in say a wine bar where people have been there and are talking.....I usually start out with brushes and when the time seems
right for the crowd, I take it up a notch by switching to a stick on ride with the right hand but
continuing with the brush in the left. I like the idea of easing the transition from no band to
sometimes band in your face or usually something in between. You'll have fun! Report back!
 
I loved the LP album cover art too! It was sorely missed when CD's replaced LP's. There is
a local club whose walls are adorned with album cover art from the 50's mostly....nice!
 
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