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Free jazz, or free form in the early to mid-1970s, [1] is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s, when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes.
The music is a continuous free improvisation with only a few brief pre-determined sections, recorded in one take with no overdubbing or editing. [7] The album features what Coleman called a “double quartet,” i.e., two self-contained jazz quartets: each with a reed instrument, trumpet, bass, and drums. [8]
Free jazz musicians make use of free improvisation to alter, extend, or break down jazz convention, often by discarding fixed chord changes, tempos, melodies, or phrases. Ornette Coleman was an early and noted advocate of this style. 1950s -> Gypsy jazz: A style of jazz music often said to have been started by guitarist Jean "Django" Reinhardt ...
While Coleman had intended "free jazz" as simply an album title, free jazz was soon considered a new genre; Coleman expressed discomfort with the term. [26] After the Atlantic period, Coleman's music became more angular and engaged with the avant-garde jazz which had developed in part around his innovations. [21]
The term can refer to both a technique—employed by any musician in any genre—and as a recognizable genre of experimental music in its own right. Free improvisation, as a genre of music, developed primarily in the U.K. as well as the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and contemporary classical music.
A 1968 ad in Seattle underground paper Helix offers a free ESP-DISK with a year's subscription. Though it originally existed to release Esperanto-based music, beginning with its second release (Albert Ayler's Spiritual Unity), ESP became the most important exponent of what is commonly referred to as free jazz. [2]
FMP originated from the New Artists Guild, which was an informal cooperative of musicians in the mid-1960s. [1] In 1968, The New Artists Guild sponsored the Total Music Meeting, a festival that presented different forms of music from those performed at the Berliner Jazztage. [1]
The music under the "free-jazz" rubric – that of Ornette Coleman, Cecil Taylor, Albert Ayler, John Coltrane, Sun Ra and their bands, to name the major pioneers with the most impact in Europe – ignited the jazz scenes there in the mid-to-late 1960s.
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