Free Jazz in The World
Outside of North America, free jazz scenes have become established in Europe and Japan. Alongside the aforementioned Joe Harriott, saxophonists Peter Brötzmann, Evan Parker, trombonist Conny Bauer, guitarist Derek Bailey, pianist Fred Van Hove and drummer Han Bennink 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 a significant impact on the free jazz players of the United States. A relatively active free jazz scene behind the iron curtain produced musicians like Tomasz Stańko, Zbigniew Seifert, Vladimir Chekasin, Vyacheslav Ganelin and Vladimir Tarasov. Japanese guitarist Masayuki Takayanagi and saxophonist Kaoru Abe, among others, took free jazz in another direction, approaching the energy levels of noise. 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 is more evident in Barbieri's early work). South African artists, including early Dollar Brand, Zim Ngqawana, Carlo Mombelli, Chris McGregor, Louis Moholo-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 the music of Africa, India, and the Middle East for a sort of World music-influenced free jazz.
Read more about this topic: Free Jazz
Famous quotes containing the words the world, free, jazz and/or world:
“Softly sweet in Lydian measures
Soon he soothed his soul to pleasures.
‘War’, he sung, ‘is toil and trouble;
Honour but an empty bubble.
Never ending, still beginning,
Fighting still, and still destroying;
If the world be worth thy winning,
Think, O think it worth enjoying.
Lovely Thais sits beside thee,
Take the good the Gods provide thee.’”
—John Dryden (1631–1700)
“The American adolescent, then, is faced, as are the adolescents of all countries who have entered or are entering the machine age, with the question: freedom from what and at what price? The American feels so rich in his opportunities for free expression that he often no longer knows what it is he is free from. Neither does he know where he is not free; he does not recognize his native autocrats when he sees them.”
—Erik H. Erikson (1904–1994)
“The basic difference between classical music and jazz is that in the former the music is always greater than its performance—Beethoven’s Violin Concerto, for instance, is always greater than its performance—whereas the way jazz is performed is always more important than what is being performed.”
—André Previn (b. 1929)
“We placed the wreaths upon the splended granite sarcophagus, and at its feet, and felt that only the earthly robe we loved so much was there. The pure, tender, loving spirit which loved us so tenderly, is above us—loving us, praying for us, and free from all suffering and woe—yes, that is a comfort, and that first birthday in another world must have been a far brighter one than any in this poor world below!”
—Victoria (1819–1901)