The Avante Garde and Free Jazz and The Third Stream The Third Stream-A term coined

by Gunther Schuller in a lecture at Brandies University in 1957. He was describing a music which combined the elements of European Classical (compositional music) and Jazz (improvisational). Another important aspect to this concept and definition, is Classical composition was incorporating atonal and non-tonal musical compositions for some time. In essence, classical music was stretching its boundries and many elements were primed to adjoin with prominent and creative Jazz artists. The Avante-Garde-A term that is associated with New Music. Often has strong affiliation with Free music, but has broader range and connocations. Both of these musics had an influence on what became known as Free Jazz. Free JazzI. General Characteristics: A. B. C. D. E. F. G. H. I. J. K. L. lack of present chord changes; often atonal harmonies, emphasis is on melody and rhythms open or free forms; tunes often complete improvisations usually dense textures, high energy playing collective improvisation greater use of dissonance rather than consonance tone clusters phrasing towards greater fragmentation; pointillism often omission of piano in ensembles ( not a need for a harmonic base) experimental instrumentations more apparent examples of Black-intonation, unorthodox sounds: squeaks, squawks, screams, noise, etc. drones many musical ideas drawn from twentieth-century composers such as John Cage and Karlheinz Stockhausen and vice versa. interest in non-western musical concepts

M. abstract expression

N. Had strong affiliations with Black Nationalism and Political Rights movements in the 1960s. Free Jazz Artists. Ornette Coleman (1930-), alto sax/trumpet/violin/compose ---the pioneer of free jazz (free bop) A. 1. 2. 3. Playing Style legato, tuneful improvisations strong blues influence often purposefully out-of-tune; plastic alto sax (late 1950s early 1960s)

B. Compositional Style 1. tunes often utilize diatonic melodies without present chord changes: harmolodics 2. open solo forms 3. steeped in rythmic approach and displacements Influential Recordings: The Ornette Coleman Quartet (late 50s early 60s) with: Don Cherry- pocket trumpet, Charlie Haden- bass, and Eddie Blackwell- drums: Something Else (1958) and The Shape of Jazz to Come (1959) early free jazz recordings. Free Jazz (1961) innovative and influential recording featuring a double quartet. Helps to coin Free Jazz as a label and Jazz genre. Skies of America (1965) third stream work with symphony orchestra Prime Time- jazz rock fusion band of he 1980s and 90s Song X (1986) Grammy award winner with guitarist Pat Metheny

Other Important Free Jazz Performers: Archie Shepp-Alto Saxaphonist, Playright, Teacher Like many players in this Free movement, Shepp was influenced by Coltranes later Free work. He was a member of Cecil Taylors quartet (190-62), the New York Contemporary Five with Don Cherry (1963-4) and Bill Dixons quartet (1962-3). Led his own groups from 1964 to present and featured many prominent players like Roswell Rudd, Bobby Hutcherson, Beaver Harris and Grachan Moncor III. Shepp has always been an eloquent apologist for the Free movement and served on the music faculties of SUNY-Buffalo and University of Mass.. Shepp also wrote powerful poems depicting Black-American life such as Malcom, Malcom, semper Malcom. Pharoh Sanders-Tenor Saxaphonist, Composer

In 1962 Sanders moved to NYC and worked with Billy Higgins, Don Cherry and was an unofficial member of Coltranes quartet. With Coltrane, Sanders became known for composing shrieking improvisations and creating sounds of indefintie pitch.Sanders can be heard on Coltranes Live at the Village Vanguard, which gained him international acclaim. He took Coltranes place after his death in a group led by Alice Coltrane. Sanders an eclectic musician was influenced his whole career by R&B-Blues and made a number of recordings in the 1980s reflecting wide ranges of musical styles. He will probably always be remembered for his affiliation with Tranes Free groups and his activity with the civil rights movement in the 1960s. Cecil Taylor (1929-), pianist/composerDeveloped a distinctively individual style that existed outside of traditional jazz styles; aggressive atonal playing devoid of melodic lines and traditional swing fee; many of his solo piano improvisations feature dense harmonic structures (tone clusters) and fragmented, pointillistic textures; unit structures. Became known for creating piano pieces and performing at different locations of the keyboard. Taylor was fascinated with sounds and textures and creating music set to themes, poems and theatrical settings. Eric Dolphy (1928-1964), alto sax/flute/bass clarinetCreated an unorthodox style utilizing smears, animal-like cries glissandos, and very fast runs interspersed with bop-like phrases; the first important jazz soloist on the bass clarinet; a true virtuoso on all three of his primary instruments; performance with John Coltrane in 1961. Dolphy made some significant recordings with trumpeter Booker Little which define Third Stream Jazz. This music featured atonal Bebop lines with a linear Tristano approach over atonal lines. Albert Ayler (1936-1970), tenor sax Inspired by Coltrane, he created a revolutionary approach unlike any bop or swing styles; concepts more related to classical and folk music than to jazz; vocal quality; much use of the altissimo register Sun Ra (1914-1993), keyboards/composer/bandleader Led a big band (Arkestra) that emphasized unusual and varying instrumentations, collective improvisations and theatrics; cosmic music featured alto saxophonist Marshall Allen, tenor saxophonist John Gilmore, and trombonist Pat Patrick. Others: Steve Lacy- soprano sax Marion Brown- alto sax Dewey Redman- tenor sax Sam Rivers- tenor/soprano sax Yusef Lateef-woodwinds Keith Jarrett-pianist/composer Carla Bley- pianist/composer Paul Bley-pianist/composer Richard Davis- bass

Dave Holland-bass Jack DeJohnette-drums Sunny Murray-drums Barry Altschul-drums The Chicago Avant Garde: General Characteristics: 1. stressed the continuity between composition and improvisation 2. 3. 4. 5. 6. 7. 8. 9. multi-stylistic sometimes avoidance of steady tempo; abandonment of jazz swing feeling often dense textures; sound mass unusual and varied instrumentation multi-instrumentalists visual effects: costumes and choreography often reflecting African heritage non-western musical traditions utilized often abolition of traditional rules regarding soloist and accompaniment

10. acoustic, rarely are electronics used AACM (Association for the Advancement of Creative music) founded by pianist/composer Richard Muhal Abrams in 1965 Some Important Groups and Performers: The Art Ensemble of Chicago- multi-instrumentalists, especially percussion; free, collective improvisation; visual aspects vital to the performance Lester Bowe-trumpet Roscoe Mitchel- saxophones, woodwinds Joseph Jarman- saxophones, woodwinds Malchi Favors- bass Famoudou Don Moye-drums, percussion Anthony Braxton (1945-), saxophones and clarinets/composer- inspired by Paul Desmond, John Coltrane, Jackie McLean, Eric Dolphy, marching band music, and composers Charles Ives and Karlheinz Stockhausen, Braxton has created uniquely ordered free improvisational style that often exploits a specific compositional or saxophone technique; his music varies from solo alto saxophone performances, jazz

combos where he plays a variety of woodwind instruments ranging from the contra-bass clarinet to the sopranino saxophone, and third stream compositions; his titles are most often diagrams that are simply identifications of compositions or performances The World Saxophone Quartet- the first in a series of contemporary acappella jazz saxophone quartets integrating composition and collective improvisation Others: Julius Hemphill-alto Oliver Lake-alto David Murray-tenor Hamiet Bluiett-baritone Henry Threadgrill-saxophones Ari Brown-saxophones Leo Smith-trumpet SteveMcCall-drums Kahil-ElZabar-African percussion Leroy Jekins-violin