Free jazz music

Chapter 3 presents empirically informed analyses of a number of new public
space projects initiated first as counter-projects and counter-spaces
by a variety of community and historic preservation society interests.
It demonstrates further that, Vancouver City Council (VCC) proved
receptive to the counter-projects and provided an overarching strategic
spatial framework within which the projects on the ground were
devised and implemented. This chapter also introduces the importance
of the social animation of public space, whether through politicised
collective action or ludic enjoyment. Changing representations of space
through time are shown to have implications for spatial practice on the ground, based on differences in the way social behaviour in public
space is understood and interpreted.

A term applied to avant-garde jazz of the 1960s and more generally to experimental performance approaches that preceded and followed that decade. Free jazz is sometimes defined negatively, in terms of the conventional jazz features from which it may depart, including a reliance on tonal harmony, metrical rhythmic structure, sectional form and standard jazz instrumentation, instrument timbres, techniques and ensemble roles. This approach, however, glosses over the very different ways in which individual musicians altered, extended or broke down conventions, and it offers little insight into the music's underlying organization. Other definitions of free jazz situate the music within a tradition that has always valued experimentation, collaboration, improvisation and frequently a spiritual dimension to music. Far from operating without constraints, free jazz requires skill and communication to select appropriate constraints while developing both the content and the form of the music in the course of performance.

The score of the 2 ½ hour “magnum opus“ named “Epitaph”  was reconstructed 10 years after Charles Mingus’ death in 1979. Most of the movements were probably composed in the late 1950s. As the finale was missing, Gunther Schuller, the conductor of the world premiere in 1989, decided to improvise one with the orchestra, using Mingus as a guide. The aim of this paper is to analyze “Main Score Part I ” and “Main Score Part II” and to look into the score of Mingus’ reconstructed compositions under particular observation of the new finale, “Main Score Reprise”. There, Mingus left instructions for a return to the opening section of “Epitaph“. By examining “Epitaph” in the historical context of Jazz between 1955 to 1967 and the 1980s and comparing the finale of “Epitaph“, created - or better said: improvised - by the musicians of the 1989 world premiere with the opening section, at first it will be interesting to discover at which point Gunther Schuller followed Mingus creative process and brought it to life in 1989. Finally, it will be speculated if Charles Mingus composition still represents a foresight of Jazz nearly 30 years after its creation.
Index Terms: Epitaph, Charles Mingus, Gunter Schuller, Jazz reception, Bebop, Hardbop, Duke Ellington, Black, Brown and Beige, African-American music, Free-Jazz

This look at Tuvan singer Sainkho Namtchylak is from an early draft of a chapter now published in Fischlin, Daniel, and Eric Porter (eds.). Sound Changes: Improvisation and Transcultural Difference. Ann Arbor, MI: University of Michigan Press, 2021. Namtchylak was one of five Asian women profiled, the others being Korean composer/geomungo-player Jin Hi Kim; zheng player Han Mei, and pipa players Min Xiao-Fen and Wu Man, all from China. Namtchylak’s part was cut from the final draft to keep it within the word limit, and for other reasons having nothing to do with her equal significance as an artist.

This short work will look at some possibilities for using Arnold Schoenberg’s symmetrical set from his Serenade Op. 24 Mvmt. 5 as pitch material in Jazz/Fusion improvisation.

I will examine some harmonic and melodic uses of the set’s two hexachords using an accepted Jazz Chord/Scale Relationship pedagogical methodology. My approach will look at these pitch groups as unordered sets or collections only, although their use as ordered sets is of course certainly possible. As many Jazz and Fusion Improvisers are familiar with Nicholas Slonimsky’s Thesaurus of Scales and Melodic Patterns , I will reference this text in relation to the sets and subsets present in this survey for ease in cross referencing.

My latest in a series of posts specific to the year 2017, to run every couple of weeks throughout it, in honor of the 30th anniversary of an iconic part of American music’s glorious terrain. Asian Improv aRts (AIR) https://www.facebook.com/groups/71419325287/ is an organization that includes a label for recordings launched in 1987 by Jon Jang and Francis Wong. I am writing a chapter about AIR https://www.academia.edu/30601403/Asian_Improv_aRts_AIR_ for a book in progress, which I expect to be working on throughout the year. This series of posts will be pithy reviews-cum-meditations from that chapter on each of the recordings of their own music Jang and Wong have released on AIR and related labels. (NOTE: my central focus on them in this series is not meant to slight other important people in the history. Other AIR artists will appear in other chapters, if and when I research and/or interview them as extensively as I’ve managed to do Wong and Jang to this point.)
This is my gesture alone, not coordinated with AIR itself or any of its members. It is something easy to share from work I happen to be doing already, which is basically that of an armchair ethnomusicologist. The regular posting of each of these things will lubricate the writing process for me, and perhaps be useful to some of AIR’s musicians and its anniversary activities.
Comments from any and all are welcome. I posted a link to the longer text recently and was happy to get a couple of corrections of facts, added info, and notices of glaring omissions from knowledgeable parties, all easy to incorporate immediately.
Once all the CDs to be reviewed so this year (Wong’s) are added to those already done (Jang’s), they’ll be worked into that full chapter where they go, toward final publication.
Wong’s 1995 CD Chicago Time Code, with Chicago bassist Tatsu Aoki and pianist Bradley Parker-Sparrow drew out my inner Proust...

This is a supplement video to my latest paper "Schoenberg Meets Slonimsky: The Symmetrical Twelve-Tone Set from Arnold Schoenberg’s Serenade Op. 24 Mvmt. 5 ‘Tanzscene’ and Some Considerations for Jazz/Fusion Improvisation". I demonstrate my ideas on the Guitar.

This practical video paper deals with the practical, technical, and theoretical aspects of rotation and transposition to generate and apply improvisational patterns and phrases derived from Schoenberg's set and Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns.

In this session I cover the first hexachord in Arnold Schoenberg's twelve-tone set from his Op. 24 Serenade Mvmt. 5 which is Slonimsky's Pattern No. 6 and play through/demonstrate many Altered Dominant 7th and Diminished Patterns that can be generated from this hexachord as mentioned in my paper.

Those who follow the work of Jazz and Fusion Guitarists such as Allan Holdsworth, John McLaughlin, Pat Martino, and are interested in the work of John Coltrane, Michael Brecker, Yusef Lateef,  and others in Modern Jazz might find this practical video paper of interest.

The Research Overview

[To reveal the production of space] we should have tolook at history itself in a new light. We should have tostudy not only the history of space, but also the historyof representations along with that of their relationships –with each other, with practice, and with ideology. History would have to take in not only the genesis of these spaces but also, and especially, their interconnections, distortions, displacements, mutual interconnections, and their links with the spatial practice of the particular society… (Lefebvre 1991: 42)

- Theoretical framework: Henri Lefebvre's spatial triad
- plus understanding role of capitalist abstract space
- Archival and interview research methodology
- Counter-projects led by civil society groups
- Aspirational urban regeneration
(Leary and McCarthy 2013)
- Five axes of public space
- Public space as crucible of democracy
- Production of differential space through
urban regeneration interventions
- Visual representations of space

Bebop y su conjunción de estrellas de los años 40’. La crisis de la Depresión Económica y la Segunda Guerra Mundial parieron la revolución del Bebop. Historia del Jazz. Parte XLVI
https://salsaconcausa.blogspot.com/2019/02/bebop-y-su-conjuncion-de-estrellas-de.html

Kurt nos comparte su opinión sobre temas como la importancia de la música en la sociedad o en la formación de un niño, también nos da unos consejos para acercar a los jóvenes a la música.
¿Usted cree que la industria musical y las artes en general puedan convertirse en un pilar fundamental para el crecimiento económico de un país?
Absolutamente, de hecho en otros tiempos la música era un pilar fundamental en la economía de una sociedad, por ejemplo en la Italia renacentista. Toda la élite peleaba por contratar a los mejores artistas para que hicieran las mejores obras y así elevar su estatus al reflejar su riqueza y estabilidad económica —lo cual es un tipo de comercio—. Sí, puede sonar utópico, sin embargo, no mucho tiempo atrás era una realidad. Definitivamente ha sido comprobado que las artes han sido y pueden
ser un pilar —incluso económico— en la sociedad y debería ser apoyado no sólo por sus resultados monetarios sino como fábrica social creadora de personas preparadas. Las artes promueven educación y expanden el horizonte de la mente humana y es una herramienta perfecta para contraatacar la ignorancia: estas son las cualidades de una sociedad sana. Los artistas y el arte son una puerta para la sociedad para transformarse y tener estas virtudes que son importantes.

The musical method of collective improvisation expresses a conception of the game whose democratic-emancipatory basic attitude suggests comparisons with the concept of the ideal speech situation formulated by Jürgen Habermas. This presumption is explained in more detail within the framework of an introductory approach to collective improvisation as a process of relationship characterized by interactivity and synchronicity. After a discussion of improvisational action in music with regard to theoretical, historical and psychological aspects, the various developmental stages of free or collective improvisation that emerged from free jazz in the 1960s will be presented. Subsequently, the collective improvisation will be discussed with reference to the concept of the ideal speech situation and located in an intercultural context. The sublimation of idiomatic, culturally shaped forms of expression demanded by musicians like Derek Bailey will be explained by the individual development of a characteristic sound language on the instrument as equalizing for the asymmetrically shaped dialogue forms of this situation.

Bebop, sufrido hijo de la Depresión económica, causó envidia y odio su nacimiento. Músicos tradicionales y Prensa maltrataron al recién nacido Bebop. Historia del Jazz. Parte XLVII
https://salsaconcausa.blogspot.com/2019/02/bebop-sufrido-hijo-de-la-depresion.html