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Product Description
When originally published in 1974, Ekkehard Jost's Free Jazz was the first examination of the new music of such innovators as Sun Ra, Ornette Coleman, and the Art Ensemble of Chicago. Jost studied the music (not the lives) of a selection of musiciansblack jazz artists who pioneered a new form of African American musicto arrive at the most in-depth look so far at the phenomenon of free jazz. Free jazz is not absolutely free, as Jost is at pains to point out. As each convention of the old music was abrogated, new conventions arose, whether they were rhythmic, melodic, tonal, or compositional, Coltrane's move into modal music was governed by different principles than Coleman's melodic excursions; Sun Ra's attention to texture and rhythm created an entirely different big bang sound then had Mingus's attention to form. In Free Jazz, Jost paints a group of ten "style portraits"musical images of the styles and techniques of John Coltrane, Charles Mingus, Ornette Coleman, Cecil Taylor, Archie Shepp, Albert Ayler, Don Cherry, the Chicago-based AACM (which included Richard Abrams, Joseph Jarman, Roscoe Mitchell, Lester Bowie, Anthony Braxton, and the Art Ensemble of Chicago), and Sun Ra and his Arkestra. As a composite picture of some of the most compelling music of the 1960s and '70s, Free Jazz is unequalled for the depth and clarity of its analysis and its even handed approach.
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First Sentence
At the end of the Fifties, Ornette Coleman made the programmatic statement, "Let's play the music and not the background" (from Williams 1970. p. 207). Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
At the end of the Fifties, Ornette Coleman made the programmatic statement, "Let's play the music and not the background" (from Williams 1970. p. 207). Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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3 reviews
10 of 10 people found the following review helpful
Informative and vintage technical text
18 Feb 2004
Format:Paperback
This book covers the music of Coltrane, Mingus, Ornette, Cecil Taylor, late period Coltrane, Shepp, Ayler, Cherry, AACM, and Sun Ra. It is valuable as an historical text, since Jost gives good outlines of each musician's career (up to 1974, when the book was published). The German author Jost gives in depth descriptions of formal aspects of each musician's work, which is most interesting in the case of the composers whose work extensively involves the working out of musical structures. It is a very rational approach to a very complex subject. At times, I felt that the absence of discussion of political or spiritual aspects of the music was not a good thing, but it seems like Jost's goal was to discuss history and form for the most part. It's a view of Free Music from a Western point of view.
10 of 10 people found the following review helpful
Great analysis of a misunderstood genre
17 Jan 2000
Format:Paperback
This book serves as an excellent survey of free jazz in the 60's. Jost uses plenty of examples and a lots of objectivity to write a book that celebrates the many virtues of this multifaceted genre, while maintaining a realistic perspective. He doesn't hesitate, however, to criticize free musicians where it is due, giving his more frequent positive comments more weight. A must for any student of the avante-garde.
9 of 11 people found the following review helpful
Nice, Concise, and Worth the Price
23 July 2001
Format:Paperback
This is a great book, but, thankfully, it differs from other books on the same topic. This is a fairly in-depth analysis of the musicians' MUSIC. Don't expect long anecdotes about Cecil Taylor's life or John Coltrane's spirituality or about revolutionary politics or whatever. Jost feels that this stuff is abundant in others' books and accounts of the "free" movement, and that it has distracted us from the music itself. That's what I love about this book; the author isn't afraid to dig deep into the music. Also, most of his recorded examples are easy to find (or at least available somewhere). There isn't any of that "one time in 61' I saw Ornette play the harmonica in this pub in sweden and....". This book makes this seemingly difficult music more accessible...check it out.
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