Hamid Drake (born August 3, 1955) is an American jazz drummer and percussionist.
61-903: By the close of the 1990s, Hamid Drake was widely regarded as one of the best percussionists in jazz and improvised music. Incorporating Afro-Cuban, Indian, and African percussion instruments and influence, in addition to using the standard trap set, Drake has collaborated extensively with top free jazz improvisers. Drake also has performed world music ; by the late 1970s, he was a member of Foday Musa Suso's Mandingo Griot Society and has played reggae throughout his career. Drake has worked with trumpeter Don Cherry , pianist Herbie Hancock , saxophonists Pharoah Sanders , Fred Anderson , Archie Shepp and David Murray , and bassists Reggie Workman and William Parker (in many lineups). Drake studied drums extensively, including eastern and Caribbean styles. He frequently plays without sticks, using his hands to develop subtle commanding undertones. His tabla playing
122-626: A Lifetime Achievement Award at the 2011 Vision Festival in New York City. The same year, he was bestowed the German Jazz Award for his life's achievements. In 2021, Brötzmann and Nils Petter Molvær were awarded the European Film Awards for their music for the history drama Große Freiheit . In 2022 he received the Preis der deutschen Schallplattenkritik , described by the jury as
183-486: A "Modern Creative" genre, in which "musicians may incorporate free playing into structured modes—or play just about anything." He includes John Zorn , Henry Kaiser , Eugene Chadbourne , Tim Berne , Bill Frisell , Steve Lacy , Cecil Taylor, Ornette Coleman, and Ray Anderson in this genre, which continues "the tradition of the '50s to '60s free-jazz mode". Ornette Coleman rejected pre-written chord changes, believing that freely improvised melodic lines should serve as
244-645: A Dog Quartet With Hamid Drake With Mahmoud Guinia and Hamid Drake With Moukhtar Gania and Hamid Drake With Milford Graves and William Parker With Keiji Haino With Fred Lonberg-Holm With Last Exit With Harry Miller With Oxbow With William Parker With Steve Swell and Paal Nilssen-Love With Fred Van Hove With Sakari Luoma and Nikolai Yudanov With Wild Man's Band With Frode Gjerstad With Globe Unity Orchestra With others Two documentaries of Brötzmann's music were produced to honour Brötzmann's 70th birthday in 2011: Brötzmann received
305-507: A child decades earlier. Drake worked with Anderson from 1974 to 2010, including on Anderson's 1979 The Missing Link . At Anderson's workshops, a young Hamid met Douglas Ewart , George E. Lewis and other members of Chicago 's Association for the Advancement of Creative Musicians (AACM) . Another of the most significant percussion influences on Drake, Ed Blackwell , dates from this period. Drake's flowing rhythmic expressions and interest in
366-528: A direct response to complex attitudes towards African-American music. Exhibited at documenta 9 in 1992, his video installation Hors-champs (meaning "off-screen") addresses the political context of free jazz in the 1960s, as an extension of black consciousness and is one of his few works to directly address race. Four American musicians, George E. Lewis (trombone), Douglas Ewart (saxophone), Kent Carter (bass) and Oliver Johnson (drums) who lived in France during
427-664: A far ranging, stream-of-consciousness approach to melodic variation". The style was largely inspired by the work of jazz saxophonist Ornette Coleman . 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. Pharoah Sanders and John Coltrane 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
488-511: 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. Tanner, Gerow and Megill name Miles Davis , Cecil Taylor, John Klemmer , Keith Jarrett , Chick Corea , Pharoah Sanders, McCoy Tyner , Alice Coltrane , Wayne Shorter , Anthony Braxton , Don Cherry, and Sun Ra as musicians who have employed this approach. Canadian artist Stan Douglas uses free jazz as
549-596: A musical emphasis on timbre and texture over meter and harmony, employing a wide variety of electronic instruments and innovative percussion instruments , including the electric celeste , Hammond B-3 , bass marimba , harp, and timpani . 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. The title track of Charles Mingus' Pithecanthropus Erectus contained one improvised section in
610-744: A prime influence on Brötzmann's music. Beginning in 1997, he toured and recorded regularly with the Peter Brötzmann Chicago Tentet (initially an octet), which he disbanded after an ensemble performance in November 2012 in Strasbourg, France. Brötzmann also recorded or performed with Cecil Taylor , Keiji Haino , Willem van Manen, Mats Gustafsson , Ken Vandermark , Conny Bauer , Joe McPhee , Paal Nilssen-Love , with Oxbow , and with Caspar Brötzmann , his son. Recordings with Brötzmann as leader include: With Han Bennink With Die Like
671-732: A significant impact on the free jazz players of the United States. Japan's first free jazz musicians included drummer Masahiko Togashi , guitarist Masayuki Takayanagi , pianists Yosuke Yamashita and Masahiko Satoh , saxophonist Kaoru Abe , bassist Motoharu Yoshizawa , and trumpeter Itaru Oki . A relatively active free jazz scene behind the iron curtain produced musicians like Janusz Muniak , Tomasz Stańko , Zbigniew Seifert , Vyacheslav Ganelin and Vladimir Tarasov . Some international jazz musicians have come to North America and become immersed in free jazz, most notably Ivo Perelman from Brazil and Gato Barbieri of Argentina (this influence
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#1732856022497732-420: A strain with which listeners can relate, following with an entirely free portion, and then returning to the recognizable 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
793-413: 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. 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
854-476: Is Spiritual Unity , including his often recorded and most famous composition, Ghosts , 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
915-488: Is an American invention, free jazz musicians drew heavily from world music 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 timbre . Free jazz was a reaction to the convolution of bop. Conductor and jazz writer Loren Schoenberg wrote that free jazz "gave up on functional harmony altogether, relying instead on
976-423: 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. In a 1963 interview with Jazz 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 A Love Supreme , his work owed more to
1037-478: Is more evident in Barbieri's early work). South African artists, including early Dollar Brand , Zim Ngqawana , Chris McGregor , Louis Moholo , and Dudu Pukwana 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 Don Cherry , John Coltrane, Milford Graves , and Pharoah Sanders integrated elements of
1098-595: Is notable for his subtlety and flair. Drake's questing nature and his interest in Caribbean percussion led to a deep involvement with reggae. Hamid Drake (birth name Henry Lawrence Drake) was born in 1955 in Monroe , Louisiana , and when he was a child his family moved to Evanston , Illinois . There, he started playing with local rock and R&B bands, which eventually brought him to the attention of Fred Anderson , an older saxophonist who had also moved to Evanston from Monroe as
1159-546: Is often credited by historians and jazz performers to a return to non-tonal music of the nineteenth century, including field hollers , 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 polytempic and polyrhythmic structures. Rejection of
1220-593: Is the group Phat Jam along with human beat boxer and rapper Napoleon Maddox. Drake also works with Maddox in the jazz hip hop group ISWHAT?! . Drake performs with European jazz groups, recording with Hungarian musicians such as Viktor Tóth and Mihály Dresch . In addition to the drum set, Drake performs on the frame drum, the tabla, and other hand drums. Since 1991, Drake has collaborated with fellow percussionist Michael Zerang to present annual winter solstice concerts. Both musicians have been committed to return to Chicago, from wherever they may be performing, to stage
1281-735: The Association for the Advancement of Creative Musicians , founded in 1965. In St. Louis, the multidisciplinary Black Artists Group was active between 1968 and 1972. Pianist Horace Tapscott founded the Pan Afrikan Peoples Arkestra and Union of God's Musicians and Artists Ascension 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 Charles Tyler , Norman Howard , and
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#17328560224971342-458: The Black Forest in 1977, with Bennink drumming on trees and other objects in the woods. In 1981, Brötzmann made a radio broadcast with Frank Wright and Willem Breuker (saxophones), Toshinori Kondo (trumpet), Hannes Bauer and Alan Tomlinson (trombones), Alexander von Schlippenbach (piano), Louis Moholo (drums), and Harry Miller (bass). This was released as the album Alarm . In
1403-553: The Black Unity Trio . By the 1970s, the setting for avant-garde jazz was shifting to New York City. Arrivals included Arthur Blythe , James Newton , and Mark Dresser , beginning the period of New York loft jazz . 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
1464-530: The Fluxus movement. 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. Many critics have drawn connections between the term "free jazz" and the American social setting during the late 1950s and 1960s, especially
1525-489: The Machine Gun musicians, including drummer Han Bennink , pianist Fred Van Hove , tenor saxophonist Evan Parker , and British guitarist Derek Bailey . The second set of takes from these sessions, called More Nipples , is more raucous. Fuck de Boere (dedicated to Johnny Dyani ) is a live album of free sessions from these early years, containing two long improvisations, a 1968 recording of "Machine Gun" live (earlier than
1586-400: The "voice" or "sound" of the musician, as opposed to the classical tradition in which the performer is seen more as expressing the thoughts of the composer. Earlier jazz styles typically were built on a framework of song forms, such as twelve-bar blues or the 32-bar AABA popular song form with chord changes. In free jazz, the dependence on a fixed and pre-established form is eliminated, and
1647-484: The 1956 record Sounds of Joy , 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 Angels and Demons at Play , which combines atonal improvisation with Latin-inspired mambo percussion. His period of fully realized free jazz experimentation began in 1965, with the release of The Heliocentric Worlds of Sun Ra and The Magic City . These records placed
1708-426: The 1980s, Brötzmann's music was influenced by heavy metal and noise rock . He was a member of Last Exit and recorded music with the band's bass guitarist and producer Bill Laswell . Brötzmann released over fifty albums as a bandleader and appeared on dozens more. His "Die Like a Dog Quartet" (with Toshinori Kondo , William Parker , and drummer Hamid Drake ) was loosely inspired by saxophonist Albert Ayler ,
1769-590: The Century 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 this era, however, came with Free Jazz , recorded in A&;R Studios in New York in 1960. It marked an abrupt departure from
1830-508: The aforementioned Joe Harriott , saxophonists Peter Brötzmann , Evan Parker , trombonist Conny Bauer , guitarist Derek Bailey , pianists François Tusques , Fred Van Hove , Misha Mengelberg , drummer Han Bennink , saxophonist and bass clarinetist Willem Breuker were among the most well-known early European free jazz performers. European free jazz can generally be seen as approaching free improvisation , with an ever more distant relationship to jazz tradition. Specifically Brötzmann has had
1891-410: The basis for group performance and improvisation. Free jazz practitioners sometimes use such material. Other compositional structures are employed, some detailed and complex. 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
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1952-511: The basis for harmonic progression. His first notable recordings for Contemporary included Tomorrow Is the Question! and Something Else!!!! in 1958. These albums do not follow typical 32-bar form and often employ abrupt changes in tempo and mood. The free jazz movement received its biggest impetus when Coleman moved from the west coast to New York City and was signed to Atlantic . Albums such as The Shape of Jazz to Come and Change of
2013-588: The beginning." Occasionally, including in 2020, the Hamid Drake & Michael Zerang Duo have also performed a summer solstice concert in Chicago. The duo has released two albums – Ask the Sun (1996) and For Ed Blackwell (2015, recorded in 1995). Free jazz Free jazz , or free form in the early to mid-1970s, is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in
2074-444: The bop aesthetic was combined with a fascination with earlier styles of jazz, such as dixieland 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 Ed Blackwell 's West African talking drum , and Leon Thomas 's interpretation of pygmy yodeling. Ideas and inspiration were found in the music of John Cage , Musica Elettronica Viva , and
2135-634: The classical chords of standard harmonies confronted with an unrestrained all over painted improvisation. Jean-Max Albert 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. Founded in 1967, the Quatuor de Jazz Libre du Québec was Canada's most notable early free jazz outfit. Outside of North America, free jazz scenes have become established in Europe and Japan. Alongside
2196-582: 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. Albert Ayler 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 jazz musicians, including Cecil Taylor in 1962. He pushed
2257-456: The emerging social tensions of racial integration and the civil rights movement . Many argue those recent phenomena such as the landmark Brown v. Board of Education decision in 1954, the emergence of the Freedom Riders in 1961, the 1963 Freedom Summer of activist-supported black voter registration, and the free alternative black Freedom Schools demonstrate the political implications of
2318-714: The free jazz period in the 1960s, improvise Albert Ayler's 1965 composition "Spirits Rejoice." New York Eye and Ear Control is Canadian artist Michael Snow 's 1964 film with a soundtrack of group improvisations recorded by an augmented version of Albert Ayler's group and released as the album New York Eye and Ear Control . Critics have compared the album with the key free jazz recordings: Ornette Coleman's Free Jazz: A Collective Improvisation and John Coltrane's Ascension . 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
2379-527: The highly structured compositions of his past. Recorded with a double quartet separated into left and right channels, Free Jazz 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. Pianist Cecil Taylor was also exploring the possibilities of avant-garde free jazz. A classically trained pianist, Taylor's main influences included Thelonious Monk and Horace Silver , who prove key to Taylor's later unconventional uses of
2440-1212: The interior landscape of percussion and shared deeply in Mr. Cherry's grasp of music's spiritually infinite transformational possibilities. Drake worked extensively with him from 1978 until Cherry's death in 1995. Drake was one of the founders, along with Foday Musa Suso and Adam Rudolph , of The Mandingo Griot Society. His other frequent collaborators include New York bassist William Parker , saxophonist David Murray , composer and percussionist Adam Rudolph , German free jazz saxophonist Peter Brötzmann and drummer Michael Zerang . Drake has played and/or recorded with: Don Cherry , Pharoah Sanders , Fred Anderson , Herbie Hancock , Archie Shepp , bassist William Parker (in many lineups), Reggie Workman , Yusef Lateef , Wayne Shorter , Bill Laswell , David Murray , Joe Morris , Evan Parker , Paolo Angeli , Peter Brötzmann , Jim Pepper , Roy Campbell , Matthew Shipp , Sabir Mateen , Rob Brown , Mat Walerian , Marilyn Crispell , Johnny Dyani , Dewey Redman , Joe McPhee , Adam Rudolph , Hassan Hakmoun , Joseph Jarman , George E. Lewis , John Tchicai , Iva Bittová , Ken Vandermark , and almost all of
2501-529: 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 microtonal improvisation and extended saxophone technique, creating squawks and honks with his instrument to achieve multiphonic effects. Yet amidst Ayler's progressive techniques, he shows an attachment for simple, rounded melodies reminiscent of folk music , which he explores via his more avant-garde style. One of Ayler's key free jazz recordings
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2562-506: The landmark albums of 20th-century free jazz". Brötzmann was born in Remscheid on 6 March 1941. He studied painting in Wuppertal and was involved with the Fluxus movement but grew dissatisfied with art galleries and exhibitions. He experienced his first jazz concert when he saw American jazz musician Sidney Bechet while still in school at Wuppertal, and it made a lasting impression. He
2623-714: The late 1940s, particularly " Intuition ", "Digression", and "Descent into the Maelstrom" exhibit the use of techniques associated with free jazz, such as atonal collective improvisation and lack of discrete chord changes. Other notable examples of proto-free jazz include City of Glass written in 1948 by Bob Graettinger for the Stan Kenton band and Jimmy Giuffre 's 1953 "Fugue". It can be argued, however, that these works are more representative of third stream jazz with its references to contemporary classical music techniques such as serialism . Keith Johnson of AllMusic describes
2684-470: The late 1950s and early 1960s, when musicians attempted to change or break down jazz conventions, such as regular tempos , tones , and chord changes . Musicians during this period believed that the bebop and modal jazz 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 Ornette Coleman recording Free Jazz: A Collective Improvisation . Europeans tend to favor
2745-530: The members of the AACM . These diverse artists all play in a broad range of musical settings which allows Drake to comfortably adapt to north and west African and Indian impulses as well as reggae and Latin. Although engaged as sideman, he has also devoted his energies and creativity as a band leader; focusing on his own groups and projects such as Bindu and Indigo Trio. Drake has frequently appeared with jazz legend Archie Shepp in various configurations. The most common
2806-708: The music of Africa , India , and the Middle East for world -influenced free jazz. Peter Br%C3%B6tzmann Peter Brötzmann (6 March 1941 – 22 June 2023) was a German jazz saxophonist and clarinetist regarded as a central and pioneering figure in European free jazz . Throughout his career, he released over fifty albums as a bandleader. Amongst his many collaborators were key figures in free jazz, including Derek Bailey , Anthony Braxton and Cecil Taylor , as well as experimental musicians such as Keiji Haino and Charles Hayward . His 1968 Machine Gun became "one of
2867-793: The piano. Jazz Advance , 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 Jimmy Lyons and drummer Sunny Murray in 1962 because they encouraged more progressive musical language, such as tone clusters and abstracted rhythmic figures. On Unit Structures (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
2928-492: 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. Paul Tanner , Maurice Gerow, and David Megill have suggested, 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
2989-448: The role of improvisation is correspondingly increased. Other forms of jazz use regular meters and pulsed rhythms, usually in 4/4 or (less often) 3/4. Free jazz retains pulsation and sometimes swings but without regular meter. Frequent accelerando and ritardando give an impression of rhythm that moves like a wave. Previous jazz forms used harmonic structures, usually cycles of diatonic chords. When improvisation occurred, it
3050-496: The roots of the music drew like-minded musicians together into a performance and educational collective named the Mandingo Griot Society , which combined traditional African music and narrative with distinctly American influences. Don Cherry , who Drake first met in 1978, was another continuing collaborator. After meeting Cherry, Drake and fellow percussionist Adam Rudolph travelled with Don to Europe, where they explored
3111-506: 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". French artist Jean-Max Albert , as trumpet player of Henri Texier '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. Free jazz , painted in 1973, used architectural structures in correspondence to
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#17328560224973172-723: The solstice event which commemorates the northern hemisphere's shortest day. (In most years, about a week later Drake performs again in Chicago with the DKV Trio .) About the winter event Drake has said, "The solstice is an important time for all people of any religion or race, because it's about the cycling of the earth itself, and nobody can really claim that. It's a time of the year when a lot of people are home and visiting, and we wanted to create something that people would enjoy at that particular time, regardless of whatever they might be following. I think it just kind of naturally turned into this continuing event. I don't think that we planned it at
3233-599: The studio version) and a longer jam from 1970. Brötzmann was a member of Bennink's Instant Composers Pool , a collective of musicians who released their own records and that grew into a 10-piece orchestra. The logistics of touring with the ICP tentet or his octet resulted in Brötzmann reducing the group to a trio with Han Bennink and Fred Van Hove. Bennink was a partner in Schwarzwaldfahrt , an album of duets recorded outside in
3294-466: The term " free improvisation ". Others have used "modern jazz", "creative music", and "art music". The ambiguity of free jazz presents problems of definition. Although it is usually played by small groups or individuals, free jazz big bands 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
3355-439: The timbral possibilities of his instrument, using over-blowing to achieve multiphonic tones. Coltrane continued to explore the avant-garde in his following compositions, including such albums as Om , Kulu Se Mama , and Meditations , as well as collaborating with John Tchicai . Much of Sun Ra 's music could be classified as free jazz, especially his work from the 1960s, although Sun Ra said repeatedly that his music
3416-473: The tradition of modal jazz and post-bop . But with the recording of Ascension in 1965, Coltrane demonstrated his appreciation for the new wave of free jazz innovators. On Ascension 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 Free Jazz . The piece sees Coltrane exploring
3477-427: 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 black Americans . 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 Lennie Tristano in
3538-494: Was also inspired by Miles Davis and John Coltrane . Brötzmann had not abandoned his art training, designing most of his album covers. He taught himself to play clarinet and saxophone , and is also known for playing the tárogató . Among his first musical partnerships was with double bassist Peter Kowald . For Adolphe Sax , Brötzmann's first recording, was released in 1967 and featured Kowald and drummer Sven-Åke Johansson . In 1968, Machine Gun , an octet recording,
3599-563: 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 hear diatonic, altered dominant and blues phrases in this music. Guitarist Marc Ribot commented that Ornette Coleman and Albert Ayler "although they were freeing up certain strictures of bebop, were in fact each developing new structures of composition." Some forms use composed melodies as
3660-405: Was released. The album was self-produced under his BRO record label imprint and sold at concerts, and later marketed by FMP . In 2007, Atavistic reissued Machine Gun . "Machine Gun" was a nickname Don Cherry gave him "to describe his violent style". Brötzmann died on 22 June 2023, at the age of 82, at home in Wuppertal , Germany. The album Nipples was recorded in 1969 with many of
3721-401: Was written and boasted that what he wrote sounded more free than what "the freedom boys" played. The Heliocentric Worlds of Sun Ra (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
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